THE MUSIC ACADEMY MADRAS...His Excellency the President of India Dr. A.P.J. Abdul Kalam inaugurated the conference, which marked the end of the Platinum Jubilee Year of Academy’s

ISSN. 0970-3101

THE JOURNALOf

THE MUSIC ACADEMY MADRASDevoted to the Advancement of the Science and Art of Music

Vol. LXXIV 2003

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“I dwell not in Vaikunta, nor in the hearts o f Yogins, not in the Sun; (but) where my Bhaktas sing, there be / , N arada !”

Narada Bhakti Sutra

E D IT O R IA L BO ARD

Dr. V.V. Srivatsa (Editor)

N. Murali, President (Ex. Officio)

Dr. Malathi Rangaswami (Convenor)

Sulochana Pattabhi Raman Lakshmi Viswanathan

Dr. SA.K. Durga Dr. Pappu Venugopala Rao

V. Sriram

THE MUSIC ACADEMY MADRASNew No. 168 (Old No. 306), T.T.K. Road, Chennai 600 014.

Email : [email protected] Website : www.musicacademymadras.in

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Editor, The journal o f the Music Academy Madras, New 168 (Old 306),

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Articles on music and dance are accepted for publication on the

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or reject any articles without assigning reasons.

Manuscripts should be legibly written or preferably, type written

(double spaced and on one side o f the paper only) and should be signed

by the writer (giving his or her address in full.)

The Editor of the Journal is not responsible for the views expressed

by contributors in their articles.

Statement about ownership and other particulars about newspaper “JOURNAL OF THE MUSIC ACADEMY MADRAS” Chennai as required to be published under Section 19-D sub-section (B) of the Press and Registration Books Act read with rule 8 of the Registration of Newspapers (Central Rules) 1956.

FORM IV

JOURNAL OF THE MUSIC ACADEMY MADRAS

Place of Publication

Periodicity of Publication

Printer

Publisher

Name and Address of individuals who own the newspaper and partners or shareholders holding more than 1% of the total capital

I, Dr. V V Srivatsa, hereby declare i best o f my knowledge and belief.

Chennai

Annual

Mr. N Subramanian14, Neelakanta Mehta Street T Nagar, Chennai 600 017

Dr. V V Srivatsa25, 1st Cross Street, T T K Road Chennai 600 018

THE MUSIC ACADEMY MADRAS

at the particulars given are true to the

JOURNAL OF THE MUSIC ACADEMY MADRAS

Date: Nov. 2007

Dr. V V SrivatsaSignature of the Publisher

»

»

r

i

CONTENTS

Pages

Editor's Desk 7

1. The 76th Annual Music Conference &Concerts - Official Report 8

2. Speech of the Conference President 9

3. Profile of Awardees for the year 2002 14

4. Photographs of Awardees 17

5. Summary of Papers 18

6. GamakasBy Sangita Kalanidhi R. Vedavalli 26

7. Contribution of Tamil to Classicism of Kamatic MusicDr. Premeela Gurumurthy 32

8. Contribution of Kannada to Classicism of Karnataka MusicR. Sathyanarayana 51

9. Bhakthi, as expressed by Sri Thyagaraja andMaharaja Swati Tirunal through their compositions 36

10. Two Compositions of Dr. M. BalamuralikrishnaTwo Compositions of Dr. V.V. Srivatsa with Notation 63

11. Release of TTK Centenary Commemorative Stamp 71

12. Obituary 72

CO

i

EDITORIAL COMMITTEE CONVENOR S NOTE

/ h e Music Academy, Madras is happy to bring out the Journals of

C. the 2002, 2003 and 2004 Conferences, the publication o f which

was held up due to unavoidable circumstances. The issues are brought

out in one bound unit. To ensure continuity the journals are numbered

separately.

A ll the Journals have reports o f the Conferences and research articles o f

interest presented a t the morning sessions o f the conference. The Conference

o f 2002 marked the end o f the Platinum Jubilee Year o f the Music

Academy. The conference was inaugurated by Honble President o f India

Dr. A.P.J. ABDUL KALAM.

The 2004 conference deserves special mention as it was dedicated to the

memory o f Bharata Ratna Sangita Kalanidhi M.S. SUBBULAKSHMI

who was very closely associated with the Music Academy. That year, being

the Centenary year o f the publication o f Sangita Sampradaya Pradarsini

o f Subbarama Dikshitar, the Experts a t the conference sessions dealt with

subjects related to it.

With effect from this Journal, two notated compositions ofVaggeyakkara

Awardees will be incorporated in the Journal.

Every care has been taken to cover the proceedings comprehensively to

the satisfaction o f musicians, scholars, researchers and rasikas.

THE 76th ANNUAL MUSIC CONFERENCEb

CONCERTS - OFFICIAL REPORT

The 76th Annual Conference of the Music Academy, Madras was held in the T.T.K. Auditorium at the premises of the Music Academy, Madras from 15th December 2002 to 1st January 2003. The conference was presided over by Vidushis Sikkil Sisters Smt. Kunjumani and Smt. Neela.

His Excellency the President of India Dr. A.P.J. Abdul Kalam inaugurated the conference, which marked the end of the Platinum Jubilee Year of Academy’s music festival.

On his arrival at the Academy, the President of India was recived by the President of the Music Academy, Sri T.T. Vasu and was escorted to the Auditorium of the Academy and the inaugural function began with an invocation.

The President of the Academy welcomed the distinguished guests and the public and traced the history of the Academy citing many memorable milestones it had passed, its growth and its place in the cultural history of South India.

Dr. A.P.J. Abdul Kalam, in his inaugural address said, “Music can bring peace and harmony in the Universe as it unifies minds and hearts of people transcending all geographical boundaries”.

He also said that music has a divine power that could generate peace, happiness and harmony and that he had the confidence that it could provide a permanent solution to various problems the mankind faces today.

Dr. Kalam had specially composed a song for the occasion and had in rendered on stage by a musician with full accompaniments.

His Excellency Sri PS. Ramamohana Rao, the Governor of Tamilnadu who graced the occasion said in his speech that just like Vienna, known as a Centre for Western Classical Music, Chennai is known as the Centre of Indian Classical Music.

After the inaugural address Sikkil Sisters Smt. Kunjumani and Smt. Neela were elected to preside over the 76th Annual Conference and Concerts.

Dr. Kalam presented the Platinum Jubilee Award to the doyen of Carnatic Music Semmangudi R. Srinivasa Iyer and the Sitar Maestro Pandit Ravishankar. The other two awardees M.S. Subbulakshmi and D.K. Pattammal could not make it to the function and the awards were later presented to them in person.

He also gave a special Award to T.T. Vasu, President of the Academy in recognition of his service to music.

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--------------------------------- THE MUSIC ACADEMY MADRAS ______________________

• • • 9 ^ 9 9 • •

Profile of Awardees for the year 2002

Sangita Kalanidhi

Sikkil Sisters

The Sikkil Sisters, Kunjumani and Neela come from a strong musical lineage. Their father Azhiyur Natesa Iyer was a mridanga vidwan. Bom in Sikkil on 15th June 1930, Kunjumani leamt the flute from the age of eight from her uncle, the flautist Azhiyur Narayanaswami Iyer. Her debut took place when she was nine and in 1942, at the age of twelve she was awarded the title “Venu Gana Praveena” by the Maharaja of Mysore.

Sikkil Neela was bom on 6th September 1940 and began training on the flute from an early age. She began giving independent performances from the age of seven. The sisters began giving concerts together from 1962 and have become prominent flautists since then. Top ranking artistes at the AIR, they have given performances in India and abroad. They have been awarded best performance prizes frequently by the Music Academy which now takes pride in conferring the title of Sangita Kalanidhi on them. It is of significance that this is the first time in the annals of the Academy that women flautists are being recognised. It is also the first time that a duo is being jointly conferred the title.

Sangita Kala Acharya

Kalpakam Swaminathan

Bom in Sethalapatti Village in Thanjavur District, Kalpakam Swaminathan was initiated at the age of eight into the realms of music by her mother Abhayambal. She continued her training in vocal and instrumental music under stalwarts such as Ananthakrishna Iyer, Sangita Kalanidhi Musiri Subramania Iyer, Sangita Kalanidhi Budalur Krishnamurthy Sastrigal and Sangita Kalanidhi T.L. Venkatarama Iyer.

Known today as a veteran Vainika and a true representative of the Thanjavur style of playing the instrument, she is a widely respected teacher. The Music Academy takes pride in conferring the title of Sangita Kala Acharya on her.

Nookala Chinna Sathyanarayana

Hailing from Anakapalle in Andhra Pradesh, Nookala Chinna Sathyanarayana is a revered performer, a renowned musicologist and the author of several books on music. At the age of five he apprenticed under Mangalampalli Pattabhiramiah who taught him the violin. He was later taught by Sangita Kalanidhi Dwaram Venkataswami Naidu when the latter was at the Maharajah’s College, Vizianagaram.

---------------------------------- THE MUSIC ACADEMY MADRAS ---------------------------------- THE MUSIC ACADEMY MADRAS

He was later trained by Sangita Kalanidhi Dr. S. Pinakapani.

Sri Nookala is the founder of the Vishwa Kala Parishad, a centre for the promotion and propagation of Carnatic and has trained several hundreds of students. The Music Academy recognises his service by conferring the title of Sangita Kala Acharya on him.

Professor TR Subramaniam

Well known as TRS in music circles, Sri TR Subramaniam approaches music from an intellectual point of view. Holding a Masters Degree in English Literature, he was one of the outstanding students of the batch of 1951 from the then Central College of Carnatic Music where he was taught by veterans such as Sangita Kalanidhis T Brinda and Musiri Subramania Iyer. Known as a musician and a musicologist, he was teacher at the Music Department, Delhi University for over 30 years.

Sri TRS is also a composer of Vamams, Chittaswarams, Tilianas, Kritis and Pallavis. He is a very well known teacher who has taught all his students without taking a fee. He has been widely recognised and awarded by various organisations in the country and the Music Academy confers the title of Sangita Kala Acharya on him.

TTK Aw ard

Dharmapuram P Swaminathan

Bom at Nannilam on 29th May 1923 to Panchanada Mudaliar and Parvathi, Swaminathan joined the Dharmapuram Mutt at the age of 12. He trained under R Velyudha Oduvar and acquired an extensive repertoire of the Thevaram and other devotional hymns in Tamil. Later he joined the Sangita Bhushanam course at the Annamalai University where he was taught by Sangita Kalanidhi Chittoor Subramania Pillai. Qualifying with a first class, he trained for a few more years under Madurai Subramania Mudaliar.

His career as a hymnodist has spanned six decades and he has been broadcasting over the AIR since 1952 besides releasing several discs and cassettes. His work has been widely recognised and several awards have come his way. The Music Academy honours him with the TTK Award this year.

TK Kalyanasundaram Pillai

Bom into a family which has been known for its lineage of Nattuvanars, Thanjavur K Kalyanasundaram Pillai is one of the most respected Bharata Natyam gums of our times. Son of the lateT.P. Kuppiah Pillai, the family has been honoured by the royal

courts of Baroda, Mysore and Ramanathapuram. Kalyanasundaram Pillai learnt the art from his father, his brother Mahal ingam Pillai, his brother-in-law, A.T. Govindaraja Pillai and sister Karunambal. His debut was at the age of four in the Kumbheswara Swami Temple in Kumbhakonam. Pillai has also trained in vocal music under A.S. Panchapakesa Iyer and the mridangam under Raghunatha Iyer.

The family established the Sri Raja Rajeswari Bharatanatya Kala Mandir in 1945 in Mumbai and Pillai has been training students in the art in that city from the 1960s. The Music Academy takes pride in conferring the TTK Award on him this year.

Kalyanapuram Aravamudan

Hailing from Tiruvayyaru, Kalyanapuram Aravamudan learnt the Vedas and the Prabandhams from his father Nathamuni Ranganatha Iyengar. He learnt the Sampradaya Granthas from HH Srirangam Srimad Andavan Vedanta Ramanuja Maha Desikan. He is stated to be the only disciple of Sangita Kalanidhi Embar S. Vijayaraghavachariar.

Giving up a senior position in a multinational, Sri Aravamudan took to the field of Harikatha a decade ago. His vast knowledge of Sanskrit, Tamil and the scriptures has ensured that his discourses are rich in content thereby ensuring a great following. The Music Academy is happy to confer the TTK Award on him this year.


Photographs of Awardees

Sangita Kalanidhis Sikkil Sisters

Sangita Kala Acharya Nookala Chinna Satyanarayana

Sangita Kala Acharya Kalpakam Swaminathan

Sangita Kala Acharya Porf. T.R. Subramaniam

TTK Awardees

Kalyanapuram Aravamudan

Summary of Papers Presented at the Conference

16th Decem ber 2002With the conference President, Vidushi Sikkil. V. Kunjumani in the chair, the

morning sessions of the 76th Conference of the Music Academy, got under way as the Brihad Kalyan Group of Brihaddhwani rendered Sri Ganesa Ghana raga Panchaka kritis of Sri Muthuswami Dikshitar with devotion. Dr. V.V. Srivatsa, Convenor of the morning conference, welcomed the gathering and introduced the theme of the year’s conference - “Classicism in Carnatic Music.”

The first presenter of the inaugural session was Dr. Premeela Gurumurti of the Department of Indian Music of the Madras University, who gave a lecture- demonstration on the contribution of Tamil to classicism in Carnatic music.

Musical references from ancient Tamil literature, the in between period devoid of a clear musical system, the Tevara and Divya Prabandham period, which led to major contributions to music and literature were all explained by the speaker with suitable illustrations, establishing both the musical and literary contribution of Tamil to classicism. Prof. S.R. Janakiraman, member, Advisory Council and the conference President made their observations.

Under the Dr. V. Raghavan Sashtiabdapoorti Endowment, a dance lec-dem was presented featuring Ms. PS. Sathi Devi on Nangiar Koothu, an integral part of Kudiyattam, the Sanskrit theatre tradition. The presenter, who has worked with some of the doyens of the tradition like Maani Madhava Chakyar, has made her own new choreography and performance manual (Aattaprakaram) for the traditional theme of Ramayana, titled, “Sree Ramacharitam Nangiar Koothu.” In her lecture (read by Margi Rama Iyer), Sathi explained the methodology, choreography, Nirvahana (Enactment) and the different nuances of the technique. She demonstrated a Nirvahana of Sree Krishna charitam and a detailed enactment of a Sanskrit verse from Sree Rama Charitam, focusing on the Swayamvara of Sita.

17th Decem ber 2002The second day’s session began with the rendering of Oothukkadu Navaavarana

Kritis by Kanakamma Natarajan and Party.

The first lecture was delivered by Dr. Radha Venkatachalam, Faculty of the Music Department, Delhi University, on the subject of Raga Aalapana techniques.

At the outset, the speaker gave the definition of the term Aalapana and outlined its characteristics. Textual references relating to the technique, application of the technique for different ragas, and other details like the durational aspect of Aalapana were discussed at length by the speaker.


Dr. Gnanambikai Kulendran, Professor Emeritus, Department of Music, Tamil University, Thanjavur, made the second presentation of this morning, under an Endowment of the Nachimuthu Gounder Rukmini Ammal Trust. Dr. Gnanambikai focused on the uniqueness of the compositions of the Sirkazhi Moovar, Muthu Tandavar, Marimutha Pillai and Arunachala Kavirayar - musical trinity of Sirkazhi - and their musical output. The devotional content of their compositions was dealt with by the speaker in detail with illustrations.

18th Decem ber 2002

The third day’s session began with devotional music by Geeta Nivedana Trust, consisting of the compositions of Sri Sadasiva Brahmendra.

The first lecture of the morning was by K. N. Srinivasan on Swaraantya Ragas (Brinda Varadarajan Memorial Endowment by Dr. M. G. Varadarajan) followed by a Sanskrit Harikatha exposition on the Dasavatara, by the students of the Sarvaraya Harikatha Patasala, under the Endowment of P. B. Sarvarayulugaru.

19th Decem ber 2002

The days proceedings began with devotional music by Sri Annamacharya Vamsheekula Sankeertana Seva Mandali. The first presentation was made by Subhashini Parthasarathi, musician and researcher on the compositions of 19th Century composer, Tiruvarur Ramaswamy Pillai (1798-1852) under an endowment of Nachimuthu Gounder Rukmini Ammal Trust. Mentioning that source material on the composer was scarce, Subhashini briefly traced the early life and musical career of the composer. She referred to the five compositions that are available and analysed them with reference to their content, structure, tempo, melodic beauty and usage of swarakshara passages. The songs Ekkalattilum and Sri Kamakshi were presented. The use of prosody and alliteration (Yati and Praasa) was also explained. The composers signature was Vedapureeswari, referring to the Goddess of Vaideeswaran Koil. The speaker mentioned that Ramaswamy Pillai was called Aimmozhippulavar (skilled in five languages) by the Dharmapura Adheenakarta. B. M. Sundaram, member, Advisory Council, who had given the speaker the necessary information on the composer, explained that he was able to gather these details and the notation of the compositions from one Ambika Dasar, disciple of Ramaswamy Pillai.

The second lecture was by Dr. Pappu R. Venugopala Rao, well-known Sanskrit scholar, writer and Director, American Institute of Indian Studies (Chennai), on the contribution of Sanskrit to classicism in Carnatic music. Tracing at first the Natya Sastra as the major source of reference for musical and dance terms, the speaker pointed to the different treatises on music (Bruhaddesi, Sangita Ratnakara, Chatur

--------------------------------- THE MUSIC ACADEMY MADRAS ---------------------------------

Dandi prakasika, Narada Siksha, Sangita Sudha, Meladhikara Lakshana, etc.) and their impact on the origin and evolution of Carnatic music.

The speaker then made an analysis of the various composers and their compositions in Sanskrit that have enriched Carnatic music (Jayadeva, Lila Sukha, Annamacharya, Bhadrachala Ramadasa, Sri Muthuswami Dikshitar, Ghanam Seenayya, Margadarsi Sesha Ayyangar). Vijayalakshmi Subramanyam rendered the songs.

20th Decem ber 2002

The events began with the rendering of Tevara Padigams by Sri Tripurasundari Sameta Adipureeshwarar Tevara Paatasala. Dharumapuram P. Swaminathan, recipient of the TTK Award this year, spoke on Sundarar Tevaram under the endowment of P. Nachimuthu Gounder Rukmini Ammal Charitable Trust. The speaker defined the word Tevaram as a worshipful method of adoring the Divine. He explained that the compositions of Sambandar are known as Tirukkadai Kaappu (4147 songs), Appar’s as Tevaram (3066) and those of Sundarar as Tiruppaattu (1200), all of which are commonly known as Tevaram. The speaker bolstered his speech with suitable illustrations (Pitha Pirai Soodi etc.) and explained the devotional aspects of the compositions.

As part of the morning session, a VCD on the 72 Melakarta talas by Sangita Kalanidhi Dr. T.K. Murthy was released. T.T. Vasu, president of the Music Academy released the VCD; and the first copy was received by Sangita Kala Acharya Kumbhakonam S. Rajappa Iyer. After the release function, Dr. Murthy demonstrated mohara and korvai for certain ragas (Kanakangi and Natakapriya) with pallavis “Unadu Paadame” and “Mahima Teliya Tarama” set in them by T.N. Seshagopalan. Murthy demonstrated a few more moharas and korvais for some of the talas. In his speech earlier, he referred to the 35 talas (moharas and korvais copied from old manuscripts by Sri B. M. Sundaram), Navasandhi talas (moharas should not be done for these, keeping in mind their ritualistic importance as per traditional practice), and the Chanda talas or the talas of Tiruppugazh. Prior to the lec-dem, clippings from the VCD were shown.

21st Decem ber 2002Sreyas Group presented Tiruvallikkeni Parthan Mahimai songs to mark the

commencement of the proceedings. The first lec-dem, on manodharma in Carnatic Music was presented by Prof. T.R. Subramaniam, musician and musicologist and recipient of this year’s Sangita Kala Acharya Award. He then focussed on the aspect of elaborative technique in rendering of ragam, kalpanaswara, neraval, tanarn and pallavi. The speaker stressed that propriety on the part of the musician

---------------------------------- THE MUSIC ACADEMY MADRAS ---------------------------------

is essential while choosing the apt place for rendition in all the above aspects. He traced the gradual growth and involvement in acquiring and sharpening of the knowledge pertaining to these areas from the past, to the present and to the future. After analyzing several factors that contribute or enhance the aspects of manodharma in the specified area, the speaker said that our Carnatic music system has been open enough to receive the new, retain the old and renew technique into a finer blend with the advancement of knowledge.

The second presentation by Prof. Dr. M.A. Venkatakrishnan, Head of the Dept, of Vaishnavism, University of Madras, focused on the Perumal Tirumozhi of Saint Kulasekara. This is a collection of 90 verses in Tamil. Saint Kulasekara expresses in his verses a complete surrender to Lord Krishna of Tirukkannappuram, whom he envisaged only as Rama. The unique greatness of Perumal Thirumozhi can be seen from the fact that the invocatory verse for this was composed by Saint Ramanuja himself.

22nd Decem ber 2002

The morning sessions began with the rendering of Navagraha Kirtana Mala, comprising compositions of N.S. Chidambaram, by Subhasruti Group of Dr. Mathangi Ramakrishnan. Under the Ramanarayana Sharma Memorial Endowment of Dr. M.G. Varadarajan, Dr. S.A.K. Durga, well-known musician, scholar and ethnomusicologist, spoke on musical instruments as tools of experimental research. She spoke of Organology, an ethno-music term used for denoting the study of musical instruments. Durga then spoke about the Dhruva Veena and Cala Veena in Bharata’s period, and the theory of 22 srutis proved on the basis of these veenas.

Vadapalani Arumuga Oduvar presented Tiruppugazhin Seermai under an endowment in memory of M. Ganesa Iyer. The speaker gave a detailed study of the Chandas, lyrical beauties, and rhythmic intricacies, use of alien words, the variety of divinities quoted, moral values found therein. Some of the miracles ascribed to the Tiruppugazh hymns were discussed and suitably illustrated.

23rd Decem ber 2002The eighth day’s session commenced with devotional songs addressed to Lord

Narayana, by Vijayalakshmi and group. Prof. Enrique Camara from the Department of Ethnomusicology, University of Valladohd, Venezuela, presented a paper on hybridisation in Latin American music. The varied facets of this music and the features that it has absorbed from other systems and the blended techniques in current practice were explained with suitable video clippings of music and dance trends based on hybridised musical scores.



The second lec-dem of the morning was on the compositions of Pallavi Gopala Iyer by Prof. B. Krishnamurti, musician and former Principal of the Tamil Nadu Government Music College, under an endowment of Dr. M.G. Varadarajan in memory of Chellammal Natrajan. Prof. B. Krishnamurti referred to the Sampradya Pradarsini of Subbarama Dikshitar, which mentions Pallavi Gopala Iyer as having lived during the period of King Amarasimha (1788-1798) and Raja Serfoji (1799- 1832). Further citing information given in the same publication, the speaker said that three Ata tala vamams and eight kritis of the composer are available to us. Some of the charana swaras of the vamams which are not sung; the uniqueness of the kritis (ragabhava and special emphasis on usages with reference to each raga), the Ateeta eduppu (in kritis) and the signatuie Venkata, used by the composer were all discussed at length.

24th Decem ber 2002

The contribution of Kannada language to classicism in Carnatic music was elaborated by Prof. R. Satyanarayana, musicologist from Karnataka. A complete format of the Carnatic repertoire in Kannada, comprising Gita, Swrajati, Pada Varna in Mukhari, a Kriti with a chittaswara, the work of Tipanaadi (author of Hanumathprabhava), a Javali of Raghunathayya, (Guru of Vasudevacharya), and a tillana were taken up and illustrated (by S. Nandakumara).

R. Vedavalli, made a presentation on the beauty of gamakas in Carnatic music. Sumitra Vasudev, her disciple gave vocal support for the demonstrative part of the presentation. The veteran musician underlined the fact that gamaka is a unique and extraordinary feature of Carnatic music. Citing the term Vali quoted in Sangita Sampradaya Pradarsini, as closer to the term gamaka, Vedavalli mentioned the 10 types of gamakas and stressed that the gamaka contributes to ranjakatvam by the way in which they link swaras.

25th Decem ber 2002

Both sessions were devoted to Raga Lakshana discussion. The panelists were Prof. T. N. Krishnan, Prof. S. R. Janakiraman, Chingleput Ranganathan, Prof. B. Krishnamurthi and V. Subrahmanyam. The ragas taken up for discussion were Bhairavi, Manji, Poomachandrika, Janaranjani, Darbar and Nayaki. On the same day a CD titled, Sangita Sagara, by V. Subrahmanyam was released. Semmangudi Srinivasa Iyer participated.

26th Decem ber 2002

An informative session on Harikatha was presented by N. Srinivasan, Sanskrit Pandit, Saraswati Mahal Library, Thanjavur, under the Alamelu Ramanarayana


Sarma Memorial Endowment. He spoke of Sanskrit nirupanas and highlighted the different musical compositions used in Harikatha expositions. He traced the origin and evolution of Harikatha as an art form during the Maratha rule in Thanjavur and explained the synthesis of the Keerthan mode propagated by Ramchand Moregaonkao Baba (1855) and that of Krishna Bhagavatar who devised 135 stories for narration. Prominent composers of Sanskrit nirupanas like Jagannatha Pandita, Chitrakavi Sivaramakrishna Bhagavatar, Mangudi Saptarishi Bhagavatar, Harikesavanallur Muthiah Bhagavatar, Thanjavur Sundaresa Sarma, Swaminatha Athreya and others were mentioned.

Contemporary themes and forms in Bharatanatayam was the focus of the lecture-demonstration presented by Sujatha Vijayaraghavan. She was supported by Rhaadha (nattuvangam and choreography), Sumitra Nitin (danct,, Sunanda Narayanan (vocal), Dhananjayan (mridangam), and N. Sikhamani (violin).

The presentation highlighted the mode of adaptation of contemporary poetry for Bharatanatyam repertoire. The selection included two kritis, composed and set to music by Sujatha Vijayaraghavan (one on environmental pollution addressed to Lord Neelakanta, and the other, a “Pudukkavithai” on trees by Vairamuthu). A third number was on the demolition of the Babri Masjid and its fall out, and seeking the grace of Lord Rama, while the fourth item dealt with a Tamil translation of a Haiku poem by Japanese poet Matsuo Basho, elaborated with suitable sancharis.

27th Decem ber 2002In his lecture, Dr. Krishnamurti Srinivas, renowned neurologist, explained the

different illnesses considered as specific occupational risks for performing artistes, and showed illustrations by means of a slide presentation.

Bangalore K. Venkatram, ghatam artist and Director, Percussive Arts Centre, Bangalore, along with daughter and musician Kalavati Avadhoot gave a lec-dem on the compositions of violin maestro T. Chowdiah (1894-1967).

28th Decem ber 2002This year’s Sangita Kala Acharya designate, Kalpakam Swaminathan,

assisted by Ethirajamma, disciple and staff of Kalakshetra, gave a presentation on the musical embellishments in veena technique. After defining the aspect of manodharma in our musical system, Kalpakam Swaminathan illustrated suitably to explain the different modes of playing on the veena with regard to tanam, neraval and kalpanaswaras, using different meettu patterns.

Veena Vidhushi Rajalakshmi Narayanan, winner of this year’s Bodhaka (best teacher) Award instituted by G. N. Dandapani, in memory of his guru T. S. Sabesa Iyer, presented with her disciples the compositions of the Trinity.


29th Decem ber 2002

G. Raj Narayan of Bangalore, artist and innovator of electronic instruments gave a demonstration of his innovation, the Sampled Tone Digital veena, which produces a synthesised sound of the veena, using a digital sample of a conventional veena. The speaker explained the features of the instrument and the scope it allows for exploring more creativity in playing. Further, the advantages of such a modem instrument were highlighted.

The contribution of Malayalam language to classicism of Carnatic music was explained by Dr. Omana Kutti, Head of the Department of Music, Kerala University.

30th Decem ber 2002Prof. S. R. Janakiraman, renowned musician, musicologist and Principal,

Teacher’s College of Music of the Music Academy, gave a lecture-demonstration on the study of different treatises on music like Natya Sastra, Dattilam, Sangita Samaya Sara, Sangita Ratnakara, Swaramelakalanidhi, Sangita Sampradaya Pradarsini and other major works. Nookala Chinna Satyanarayana, well-known musician, musicologist and founder of the Viswa Kala Parishad, enlightened listeners on the contribution of Telugu towards classicism in Carnatic music.

3 1 st Decem ber 2002

This year’s T.T.K. award recipient, T.K. Kalyanasundaram Pillai of Sri Raja Rajeswari Bharat a Natyalaya, Mumbai, traced the dance lineage of Panchapakesa Nattuvanar, to which Kalyanasundaram Pillai belongs. The technique of this dance tradition as handed down through generations of nattuvanars like T.K. Kuppiah Pillai, father of Kalyanasundaram Pillai, his elder son, T.K. Mahalingam Pillai, his son-in-law A.T. Govindaraja Pillai and daughter Karunambal was highlighted.

The recipients of this year’s Sangita Kalanidhi title, Sikkil Sisters, V. Kunjumani, V. Neela, presented a lecture demonstration on the glory and unique features of the flute, and its contribution towards the enhancement of the musical values.

1st January 2003

The Sadas of the Music Academy was held in the evening at 4.30 pm marking the culmination of the 76th annual conference. Sangita Kalanidhi T.N. Krishnan presided and conferred titles on nine musicians in recognition of their distinguished service to Carnatic music.

Flautists, Sikkil sisters, Kunjumani and Neela, were conferred the title ‘Sangita Kalanidhi’. Sangita Kala Acharya was conferred on Kalpakam Swaminathan,

—---------------------------[ID------------------------------


T.R. Subramaniam and Nookala Chinna Satyanarayana received the title ‘Sangita Kala Acharya’. The awards carried a medal and a citation. Dharmapuram P. Swaminathan, T.K. Kalyanasundaram Pillai and Kalyanapuram Aravamudan, received the TTK Award.

The Kanchi Sankaracharya, Jayendra Saraswathi, conferred the title Carnatic ‘Sangeetha Seva Rathnam’ on the academy president, T.T. Vasu, in recognition of his efforts to promote Carnatic music.

The Kanchi Acharya said Carnatic music, which instilled bhakti in people put them on the right path, should be promoted. He paid tributes to the academy for its services in promoting traditional arts. The Kanchi Acharya, Vijayendra Saraswathi, said the country had the unique honour of preserving ‘sastras and sampradayas’. Sri. T.N. Krishnan stressed the need for artistes to perform with deep involvement. Sri. Vasu was among others who spoke.

• • 9 6 9 9 9 • *

Gamakaslecdem presented at the morning academic session of the

76th Annual Conference on 24.12.02 at The Music Academy, Madras

By Sangita Kalanidhi R. Vedavalli

Nam askaram

The topic that is the subject of my talk this morning is “Gamakam” in Carnatic music. This unique aspect that is so vital for our music is what differentiates the way Carnatic music is rendered from other systems of music. While I plan to approach the subject from a practical point of view, I will begin with a brief overview of its historical perspective.

Samgadeva, a thirteenth century musicologist lists fifteen gamakas in his Sangitaratnakara, the most important musical treatise of India’s medieval period. Sarangadeva describes many of his gamakas in terms of their execution on the vina, but so little is known now about the actual sound of this period’s music that musicians can only generally interpret Sarangadeva’s definitions and understand it in the perspective of today’s music. The Sangita Ratnakara of Samgadeva defines gamaka as:


“svarasya kampO gamakah srOtra citta sukh5vahah tasya bhedastu tiripah sphuritah kampitastatha”

Following this a list of types of gamakas such as Una, andolita, vali, ahata etc is given but what is most important is the line which mentions the joy that gamakam creates in the minds of the listeners. It is an experience shared by both the singer and the listener.

The Vina was the instrument used for demonstration and explanation of musical terms. A major advance in the written description of gamakas came in Somanatha’s RagaVibodha (1609). He lists 23 symbols for use in vina notation. Somanatha describes the execution, vadana-bheda of the corresponding gamakas in the vina.

Sangita Sampradaya Pradarsini (1904) written by Subbarama Diksitar is a treasury of compositions in the family tradition of Muttuswami Diksitar (1775-1835). Subbarama Diksitar’s work attempted to reconcile the 15 gamakas of the written theoretical tradition with ten from the oral tradition. In other words, he lists 15 gamakas but assigns symbols to only ten of them. Thus it becomes quite clear that the oral tradition of primary importance and that is what the focus will be on in this lecture demonstration

Gamakam is a very unique aspect of our music, one could also call it extraordinary and special. I will share whatever I have understood and learnt about gamakas in my experience. My firm opinion is that we learn from our preceptors and that is the only way to imbibe the finer aspects of music including gamakas. A Gamaka is often defined as an ornament or “embellishment” but perhaps such a definition is quite inadequate, to the extent that they suggest something incidental added on to what is fundamental, for gamaka is itself a fundamental element of a raga.

Gamaka performs an integral, rather than decorative function in our system of Carnatic music. Theoretically, one can define a svara simply as a scale, but in practice a svara is properly defined only when taking into consideration the gamaka associated with it. Gamaka is what gives a raga its unique character. Thus svara and gamaka are intimately intertwined.

The gamakas, are the subtle shades of a tone, delicate nuances and inflections around a note that please and inspire the listener. The gamakas are not arbitrarily attached to a note, instead they are an integral part and grow out of it.

How gamakas bring forth the essence of a raga is what we will see today. We will go with the more recent work, the Sangita Sampradaya Pradarshini of Subbarama Dikshitar. There is a gamaka called vali mentioned in the book. That is a gamaka that is very close to what I am going to explain today.

The 72 mela scheme that we have is a boon that we have inherited from our musical predecessors. They have created it so perfectly that there is no room for confusion or doubt. These melakarthas are basically a permutation and combination of notes. How we breathe life into these notes really brings out the raga. We can look at the mere scale of Sankarabharanam, Mayamalavagaula or Todi and see how to form them into ragas. If the notes of Todi are sung as plain notes without any oscillation, it will sound like Sindhu bhairavi and very close to Hindustani music. This is because Hindustani music uses more of flat notes.

One can realize that plain notes are sung as a scale and the same notes sung with oscillation or gamakas form as a raga. We can identify the raga Todi only when the svaras are sung with gamakam. The life of a raga lies really in the gamakas.

Ragas may be classified as gamaka pradhana ragas and svara pradhana ragas. In the case of svarapradhana ragas like Malavi and Kadanakutuhalam, it will not be possible to introduce gamakas. What has to be observed is the movement of the notes, the varjam and vakram, in other words what has to be adhered to here is the succession of notes and the prayogas. One did not do a raga elaboration in such ragas in those days however great a vidvan. Alapana was sung for ‘periya’ or big ragas which had ample scope for elaboration or for rakthi ragas.

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Again we can look at raga alapana in different ragas in two ways : (i) how ragas may be differentiated by some typical phrases and (ii) how the same note may be rendered differently based on the raga.

If you look at the classification of the melas, the first half of the octave is common to many ragas. Do we then rely on the latter half to be sung before the raga is identified? We should be able to bring out the feel of the raga without having to sing all the svaras that a raga takes. This is where gamakas come in handy and they help us out. Let us take the example of a single common svara, say for instance suddha rishabham. This rishabham occurs in many ragas. Sometimes it may be oscillated, sometimes held at a position slightly higher or lower than the svara sthana, sometimes it may be rendered flat.

Parsvadeva in his Sangita Samayasara gives a beautiful definition of gamakas.

Svasrutisthana sambhutam chhayam srutyantarasrayam SvarOyadgamayed gTte gamakOasou nirupitab

A note often oscillates between its own svara sthana and the next, in fact it borrows shades of the next svara and this is referred to as gamakam in Carnatic music. Let us take Kalyani for instance. The Kalyani gandharam is usually held with a gamakam, that is the sampradayam. The Kalyani gandharam is not held flat. The moment the note is oscillated, it has the sound of mg, mg, mg, Curiously it does not reach upto the pratimadhyamam which is the note for this raga. In a gamaka, the next sruti is usually touched by the note. Kalyani as a raga can be shown even without reaching the pratimadhyamam by just producing an oscillating gandharam. A flat gandharam will automatically have shades of Sankarabharanam. Just the gandharam with or without a gamakam differentiates the two ragas. The life of the raga exists within a single note.

One more point to be noted is that if one svara is oscillated, then as a rule the svara adjacent to it is usually held flat. For instance if the kalyani gandharam is oscillated, then the rishabham is held flat and vice versa with Sankarabharanam. Thus ragas have their uniqueness and there can be no doubt as to the identity of the raga. There are examples in kritis such as “Enduku peddala” which has an oscillating rishabham followed by a flat gandharam right at the outset. “B/tajare re chitha" in Kalyani has an oscillating gandharam. Our gurus have taught us how to use these gamakas in different ragas. All we have to do is to keep it in mind while singing so that the listener does not have to wonder about the raga that is being sung. Adhering to this might help an inexperienced singer from slipping into shades of another raga while doing an alapana. Understanding gamakas will facilitate going into the depths of a raga with singing with involvement. This is a path that can be followed.

Let us see how the same single svara has different hues in different ragas. Take for instance suddha rishabham- it is present in Mayamalavagaula, Todi and other


ragas like Gaula, Sourashtram, Chakravakam and Saveri. In Gaula , the phrase pmgmr has a rishabam that is almost ekasruti.. It is very close to the shadjam. In Saveri the rishabham does not have too much of an entity. In Mayamalavagaula, one can hold a bold flat antara gandharam. Though Nadanamakriya is almost like Mayamalavagaula, the flat gandharam does not have a place in the raga.. The svara sthanas may be the same, but how do we differentiate the ragas? It is only through gamakas.

Also the position of the svara :n the same raga may vary depending on the phrase that is being sung.. For instance, In Sankarabharanam, the phrase srgmm, the oscillating madhyamam is close to the Gandharam while the real svara sthanam of the suddha madhyamam is much higher. While singing a raga alapana, such an oscillating madhyamam indicates that one may sing below that svara or weave patterns around that svara.it would help singing within that range fora while. Singing this madhyamam while ascending to higher notes may not be comfortable or apt although it may still be within that raga. In such a case, the gamakam would keep the madhyamam closer to the panchamam and the ascent will be much smoother! A demonstration of the various shades of madhyamam in Sankarabharanam will make it much clearer.

Sometimes we find that a particular raga seems to elude us even though we hold the specified notes. Here it is important to understand that some notes have to be stressed and others held flat depending on the following note. Take for instance Harikambodi which takes the Chatusruti dhaivatam and Kaisiki nishadam. A raised dhaivatam will automatically push the nishadam higher and the beauty of the raga will be lost whereas one can raise the d in Sankarabharanam as it takes the kakali nishadam. The moment the dhaivatam is stressed a little,it borrows from kaishiki nishadam and it will be hard to sing a kaishiki nishadam after that svara. A flat dhaivatam will automatically lead to kaisiki nishadam. In the case of the above ragas, the nishadam was different and the rest of the notes were the same.

Let us take two ragas which have the same notes within a range such as Bhairavi and Kharaharapriya and see how gamakam makes a difference to their very existence. The phrase rgmp in both are sung differently. Kharaharapriya takes flat notes whereas in the raga Bhairavi, the madhyamam is sung with some emphasis. The moment a flat madhyamam is held, the chatusruti rishabham will follow automatically and bring Kharaharapriya along with it.

There are such subtle nuances that make so much difference.If there is so much in the little that I have mentioned, imagine how much more there is to gamakas. It is like the unfathomable ocean. If one is able to find a svara sthana, be one with that perfect note, there is a sense of bliss and a total oblivion at that time. It is quite inexplicable but at the same time it is an experience to be felt. It is a kind of sakshatkaram. It is said that Ramakrishna Paramahamsa and Ramana experienced Brahmananda or


went into a trance. We do not know what that may have meant but certainly there is Brahmanandam in our music. We have to look at our music in that way.

We can search for subtle nuances in our music. We can find the answer in many of the compositions of great vaggeyakaras. Although it is true that kritis may not be sung in the same way by all. Certain changes may have crept in because of the nature of the voice or for convenience in voice production. However, if we look at certain vamams or some big compositions which have remained relatively unchanged, we may unearth a wealth of information about the raga. It is often that popular compositions have undergone the transformation whereas rare pieces have remained relatively untouched.

Kritis of the mummurti have the essence of ragas. When we learn a kriti, it would be a good idea to look into the nuances of the raga as well.

The myriad shades of the Todi gandhara are shown explicitly in the chitta swaram of the kriti ‘Gajavadana sammodita veera' composed by Kumara Ettendra. The gandhara varies with the different phrases but each of those phrases is so typical of Todi raga. While singing an alapana too the same kind of variety is seen based on the phrase. It is possible that the Chatusruti rishabaham has crept into Todi because of the oscillation on the gandharam. The nishadam in Todi too has a different range based on the ascending or descending phrase that is being sung.

Ragas such as Ritigaula or Anandabhairavi are quite similar in the range of shadjam to pancamam. It is not that the phrase pnns has to be sung before Ritigaula can be identified. The difference can be made in the gamaka on the gandharam itself. It can be shown through the oscillation and the frequency of oscillation. Anandabhairavi does not have sancharam below the mandra nishadam. This is to retain its identity as different from that of Ritigaula. Again in the madhyasthayi Ritigaula has the mnns and not pnns (this occurs only in the mandra sthayi) prayogam so that confusion with Ananda bhairavi does not arise.

Let us look at a cluster of ragas like Kedaragaula, Arabhi, Devagandhari, Sama, and Surati. These ragas uniformly have the same svara sthanam between sadjam and pancamam. But the differing of the ragas can be shown with gamakas keeping within this range of svaras. This can be done with absolute clarity. A demonstration of phrases will show the difference between these ragas. In Arabhi the gandharam has no place, it is expressed close to the madhyamam. Suruti too has no place for gandharam. On the descent it sounds like mr touching the gandharam briefly.

Thus gamakas give shape and life and shape to many ragas. In yet other ragas, there may be less emphasis on gamakas and the difference may be prayoga based such as Kurunji and Navaroj. Kurunji has no sancharam below the mandra nishadam


whereas in Navaroj one can descend up to the pancamam. However today this subtle difference has been overlooked by many and Kurunji and Navaroj have merged just as Manji and Bhairavi have. Muthuswami Dikshitar has clearly shown both ragas. The very first line of the Navaroj kriti Hastivadanaya comes down to the mandra pancamam. Tyagaraja too has composed in both Kurunji and Navaroj but what has happened is that the popular “Sita Kalyanam” which was originally in Kurunji has been converted to Navaroj. “Napali Srirama" fortunately continues to be sung in Navaroj.

There are many such ragas and I have shown you just a few. To end on an auspicious note, I would like to show the difference between Madhyamavati and Sriragam. One can differentiate based on the rishabham. Usually the Madhyamavati rishabham is oscillated while the Sriragam rishabham is held flat. This is to allow for the flow of the gandharam in Sriragam. Muthuswami dikshitar employed the pdn prayogam in Sriragam, perhaps to differentiate it from Madhyamavati.

Gamakas are very crucial in achieving the desired impact of a raga. Singing or playing the same kind of gamaka throughout, makes it dull and monotonous. A happy combination and intertwining of the various gamakas is what is wanted. Knowingly, and very often unknowingly, musicians in general, make use of the several gamakas. But a good musician knows exactly when to use a particular gamaka and how to use it to advantage. This is possible when one learns from an experienced Guru.

I thank the Music Academy Madras for having given me the opportunity to share my learning and experience about gamakas. My namaskaram and sincere thanks to the members of the Experts’ Committee and all the rasikas present here today.


• • • 9 Q 9 ® • •

Contribution of Tamil to Classicism of Karnatic MusicDr. Premeela Gurumurthy

Professir and Head, Dept, of Music, University of Madras

The concept of Muthamizh consists of “Iyal, Isai and Natakam, the literature, music and theatrical arts. It is interesting to note that the language itself contains these three segments. However also whether it is literature, music or drama the language also plays a vital role. South Indian classical music has always been based on the oral tradition where compositions of many Vaggeyakaras in various languages have been landed down to the growth of the vast repertoire. When it comes to music the literary sources are of two types one is the rich source of compositions and the other being the musicological literature.

M usica l Reference in Tamil Literature

Tolkappiyam

Tolkappiyam is an ancient treatise on tamil grammar. However it is interesting to note that the author has referred to the term ‘Isai’ meaning both sound used for speech and music. Isai is also referred as ‘Osai’, Here one is reminded of the Tiruttandakam of Appar ‘Osai oli elaan anaai Neeye’, giving the two subtle differences of Osai could be termed as loud and oli as subtle all being attributed to Lord Siva being manifested in the form of sound as Nada brahman, sung by Saint Tayagaraja as “Nadatanum anisam Sankaram”.

The reference in Tolkappiyam “Ahattezhu vali isai” (1:102) is explained as the sound produced from Muladhara. Aham - inside the body - Ezhu that which is coming upward vali - air - isai - sound or music. This is the methodology regarding the production of sound.

In the phrase, ‘Narambin Marai’ meaning the tradition of the Naranbu, string of the Yazh which is a synonym to the tradition of Music, Tolkappiyar makes an important point to say that “Alapirandu uyirttalum ottrisai Needalum” a short syllable could be elongated and a long syllable could be shortened in the art of music called “Isaiyodu Sivaniya Narambin Marai”, meaning the art of music coming together with the stringed (instrument) tradition. The word Marai could also mean the aspect of music a Veda or that which is hidden in the sound of the string - the inherent note or the system. This quotation ‘Alabirandu’ (Nool - 33) ends by a phrase ‘enmanar pulavar’ thereby he says so is the verdict of the scholars before me or my time. This conveys that there existed a tradition of music well defined during the period of Tolkappiyar himself. The concept of


lengthening and shortening of syllabus are allowed in music when the text of a song get secondary importance due to the primary place given to melody which is an important aspect which is relevant even today, referred to as “Padaccheda”.

Tolkappiyam in the Agathinai section (III - Ahat - 18) speaks of the nucleus of each land. The God of the region, food, animals, vegetation, birds, drum and Harp are all referred to as Karupoorul. The drum and Harp that is the Parai and yazh are important as a different variety of Parai and Yazh have been assigned to the four types of Land viz., Kurinchi, Mullai, Marudam and Neidal, the hills, forests, agricultural lands and the coastal area respectively. The Parai at that period represented all the percussive instruments and the Yazh the stringed variety. Such classifications are commonly seen in ancient Greece.

It is important to note that it is the literary sources along with the oral living tradition which have preserved a musical culture each contributing to the other and each helping to preserve one another for prosperity. The third element is the human effort, intelligence and creativity that keeps it going and above all the divine grace inherent in everything which has always inspired great works of art, literature and performance.

In Tolkappiyam there are references to songs such as Pannathi, Pi si and Paripadal or Paripattu. Vannam is the term which is equated to the chandas. Twenty types of vannam have been described. Panar, Kuttar, Padini and Viraliyr professional artistes were associated with chieftains and they helped him to carry messages of peace to his beloved. Such chieftains and kings have always patronised the Panars and their family who were given gifts, lands, elephants and golden flowers regarding which there are many references in the Sangam works.

Cilappatikaram

This is one among the five Perum or mighty kappiyams or Epics in Tamil. The story of the anklet and its identity. Clilanbu- the anklet and Adikaram the chapter. Here the term Adikaram could also mean that which or who holds the right over the Cilambu in question whether Kannagi or the Queen of the Pandyan King. It revolves around the mistaken identity of the anklet. That is for the story but a Musician or Musicologist or a dancer is more interested in the valuable information written by the illustrious author Ilanko Adigal on music and dance.

Out of the thirty chapters of Cilappatikaram nearly fifteen contain references to music and instruments. Arumpada urai and Adiyarkkunallar urai are the two commentaries again containing a lot of information on fine arts.

Adiyarkkunallar a commentator lists out the works on fine Arts which were in vogue during his time used by him as reference. It is a pity that except the


Panchamarabu, Baratarsenapatiyan and Kuttanul the rest are lost. At least we have the names of the works such as Perunarai, Perumkurugu, Pancha Bharatiyam, Isai Nunukkam, Indira Kaliyaam and Madivanar Nataka Tamil. Therefore a primary literary epic the Cilappatikaram becomes a secondary source to know the Ancient musical history when the above mentioned precious sources of treatises have been lost. The researchers are depending on the Sangam works such as the Ettutokai and Pattuppattu again where references are abundant. Music and dance were interwoven closely with the life of the people, be it in the Palace, places of workship or in the society at large.

In Cilappatikaram the two characters Madhavi and Kovalan were drawn to each other by their artistic virtuosity. Madhavi a dancer was the embodiment of dance, music and beauty (adal, padal azhagu ondrilum kuraivu padamal - all three were in equal proportion not one lesser than the other). While speaking about Madhavi the nature of Music, dance, the qualities of a teacher of music, (vocal, flute, Harp, drum) dance are described by Ilanko. The types of dances, Palai and Pan derivation, varieties of Yazh and the technique of play, the percussion instruments, the variety of musical compositions and the technical terms related to music and dance all make an interesting and fascinating study.

Adal asiriyan or the dance teacher

He should know the Desi and the Marga (the secular and the orthodox) types of kuttu, and the eleven types of Adal, [such as Alliyam, Kudaikotti, Kudam, Pandarangam, Malladam, Tudi, Kadai, Pedu, Marakkal, and Pavai - as listed in Panchamarabu the body movement, songs, rhythnic setting along with instrumentation. He should also know the rules regarding the single hand, double hand gestures along with foot movements and the Kuravai and Van dances.

Similarly the requisites are given for the musicians and instrumentalists. One is made to wonder the sophistication of the yesteryears and the vastness of the knowledge the artisans acquired which is described in a work belonging to the 2nd century A.D.

As for the Yazh or Harp, mention is made of Periyazh, Makarayazh, Cakotayaz and Cengottiyazh having 21, 19, 14 and 7 strings respectively. The seven palai-s or scales are derived by the new tradition called Vamburu Marabu and the older tradition called Tondrupadu Murai. Placing the twelve notes on the 12 houses of the Zodiac is found only in ancient Tamil Music scientifically explained by the commentators and mentioned by Ilanko which is a highlight indeed. Here astrology, astronomy and music go hand in hand. That too the formation of the notes is used to explain the concept of Kural-Tirupu or the modal shift of tonic where various scales are derived. Arangetrukkadai contains all this and more.

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There are four methods of deriving scales or Palais. Ayam (linear), Caturam (square), Trikonam (traingular) and Vattam (Circular). Of these Adiyarkkunallar mentions the Vattappalai in detail.

A circle is drawn with four cardinal points East West, South and North. In each of the four angles two more lines are drawn thus making the twelve signs of the Zodiac. Taurus is fixed in the East. The twelve represent the 12 Svrasthanas of these seven are located in the Zodiac.

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Rasi Narambu

TulamViruccikam

. iKural (sa)

TanucuMakaram

Tuttam (ri)

Kumbam Kaikkilai (ga)MinamMetam

Uzhai (ma)

ItapamMitunam

Ili (pa)

Katakam Vilari (da)CimmamKanni

Taram (ni)

Seven notes shown in a Zodiac of 12 Signs stands testimony to the ancients awareness of the 12 Semi tones in an'octave. Of these Taram is the first to appear. In taram - Uzhai, in Uzhai kural and in kural - Ili, and in Ili-Tuttam and in Tuttam -Vilari and in Vilari Kaikkilai are bom. Uzhai is the 5th note at the 8th sign from Taram. All are the 5th notes and at the 8th sign from the note in which they are bom. Such progression is called the Ilikramam meaning progressing by the fifths.

The seven scales or Palai-s were derived from Palaiyazh by shifting the kural in two ways valamurai (clockwise) and Idamurai (anti-clockwise). The system of scales described above is described in the Aycciyar-Kuravai. Scholars like Prof. P. Sambamurthy. Dr. S. Ramanathan, Vipulananda Adikal, Abraham Panditar and Vi.Pa.Ka Sundaram have all written in detail giving their interpretations.

Musical Forus:

The epic itself is described by the author as Urai idai itta Pattudai Ceyyul meaning comprising of prose interspersed with musical verse. Mangala Vazhtu

padal is invocatory sung in praise of moon, sun and rain. The types of varippadal used are Kanal Van, in praise of sea and Arruvari in praise of river. Apart from these there are Sattru vari, Mugamil vari, Nilai van, Murivari, Tinainilai vari, Sayal vari, Mayarrutinai Nilai Vari etc.

The well known composition “Vadavaraiyai M attakki” sung by Sangita Kalanidhi M.S. Subhalakshmi is a song from the Ayichiyar kuravai titled as Munnilai Paraval. The section Muruvakum Eradiyan is titled as Padarkkai Paraval. Paraval here means to praise. Vadavaraiyai is an example of how prose is interwover with poetry in Cilappatikaram. The text sounds easy and modem in usage but it actually belongs to the Sangam Period and is quite melodical to render as well. This is an aspect of a classic where language, melody and poetry produces joy at all times.

The Musical instruments in Cilappatikaram

It is amazing to note that this work names nearly 108 instruments. Some used for vocal music, some solo instruments, others used for vocal music, some solo instruments others used for dance and drama. These were made of metal, wood, leather, bamboo and guts were used for strings therefore the term narambu (vein). Even today guts are used in violin. Flutes were made of bamboo, sandal wood, bronze and ebony. Thirty varieties of drums are given. Muzhavu is the term used for a big drum. This is of various types such as Aga Muzhavu a superior variety or indoor perhaps. Agappuramuzhavu, Pura muzhavu, Purappura Muzhavu, etc. are other varieties. Nan Muzhavu was used to indicate the hours of the day and Kalai Muzhavu was to wake up the king. The instruments were not only used for purposes but were used for hunting, conveying messages, during war, to announce victory, in the retinue of kings to name a few. References to all these are available in the ssangam classics. Murasu was given the pride of place and used for war, sacrifice and to declare judgement.

The technical terms used for music, dance and theatre is another interesting area where one studies about the terminology of the past regarding musical concepts, instruments, technique of play or usage, musicology and the names of musical forms, pans, the artisans etc. There is a fund of such terminology which have given way to later words in many other languages due to the changing times and civilisations. Today as the art progresses, technology has taken over bringing in various terminology and method of playing. The Yazh, the Tambura, Sruti Box and the electronic Tambura can be cited as the chronological growth. The Yazh however is still prevelant in many countries which has been in vogue in almost all the ancient civilisations. It is still used in western music as a period instrument.


However what has not changed is that in Cilappatikaram there is a phrase which says “Kuzhal Vazhi Ninradu Yazhe” meaning that it was the flute which always showed the path to the Yazh as the pitch of a flute is constant where as the strings could go out of tune. The checking point is always a wind instrument and even today the Pitch pipe does the job of what Kuzhal did in ancient times. One has to follow the wind instrument even now.

The Ettuttokai

The eighteen works of the Sawrgam Literature, the Ettutokai and the Pattuppattu contain many important references and have contributed in great deal to the ancient Tamil Musicology. These works depict the lives of the people, their habits, profession and their artistic pursuits conveying a clear picture of the society at that time.

The Ettuthokai: The anthology of Eight works are Nattrinai, Kuruntokai, Ainkurunuru, Paditrupattu, Paripadal, Kalittokai, Akananuru and Purananuru.

Nattrinai

The Panars or professional wandering musicians played the Padumalaippalai in their Siriyazh, (a yazh having lesser strings). The shepherds known as kovalar played on the Ambal and Kondrai Kuzhal. The Kuttar played on the Muzhavu. The Marasu was sounded during weddings. References to Tannumai, Parai, Tondakam and Siruparai the rhythmic instruments find mention. The instrument called Pampai used in folk music even today is also referred to.

Kuruntokai

In this work Yazh, Kuzhal, Muzhavu, Murasu, Parai, Tondakam, Padalai, are mentioned. The small stick used to beat the drum is called Kunil. The women living in the hilly area are called as Kurappenkal. They sing the Vallaippadal and Ulakkaipadal while doing their household work. The veinkuzhal sound is compared with that of the Vakka bird. In the fields the Kodicciyar women sound the instrument called Kulir to drive away the parrots to protect the grain.

It is inspired by Bhakti or love, in a mood of inspiration out of an emotion. This work describes the three areas of Madurai, the river Vaikai, Tirumaliruncholai and Tirupparankundram. Therefore 22 songs are in praise of either, Vaikai, Tirumal or Sevvel. (OâyGevcir) The speciality here is that the composer of the song, the music and the Pan are given at the end of each song. It is interesting to note that during the Sangam Period there was a custom of a poet composing the text of

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a song, a musician creating the tune and Pans used are Palaiyazh, Notiram and Gandharam. Expertise in Poetry and Music have been different which later merged into one during the Bhakti Period. Paripadal deals with games pertaining to hilly region and water sports.

Kalittokai: Kali and Paripadal are musical compositions belonging to the Sendurai Marga, is the definition given by Nachinarkiniyar, a commentator of the Tolkappiyam.

Similarly Purananuru and Akananuru describes the details of war and household life respectively. The interesting aspect regarding language is that in Tamil literary works of the Sangam period each type of the sound of instrument is described comparing it with that of nature like the waterfall, the thunder, the sound of the peacock to differentiate the timbre and tone.

Ainkurunuru

This is so named as it contains five hundred short verses. Murasu, Tattai, Tannumai, Aripparai, Ambal Kuzhal, Siriyazh, Muzhavu are referred in this work. The Siriyazhpanar play the Mullaippan which is equated to todays Mohana Raga. the Mullaipan is that which was played by the shepherds living in the Mullai region or the forest area.

Padittrupattu

The vannam meaning chandam is described. Sorcirvannam, Ozhukuvannam and the terms used for tala such as Centukku, Vanchitukku are referred to. Periyazh having more strings, the Valampuri conch, Muzhavu, Tannumai, Padalai, Tumbu, Palaippan, and the Tunangai Kuttu (a type of dance similar to that which is done in he form of those possessed) are mentioned in this work.

Paripadal

The paripadal is a type of a song mentioned in Tolkappiyam, This work contains that type of composition entirely and hence the name. This is a type of poetry which contains many types of poems all in one due to it giving importance to music and the strict rules of poetry have been relaxed. This is in praise of God or deals with love-poetry or Aka-suvai. Parinduvaru Vadu Paripadal is the definition meaning which shows the intelligent way of conveying the tonal colour of each instrument through literature. For example various drums have different tones. One is described to the thunder, the other to the sound of the ocean, the other to the water fall that roars. A wind instrument is smillar to the call of a peacock. The other is like the sound made by an elephant. The bee’s buzzing tone is like

that of the string struck in a harp etc. There are also references to the dragon fly’s sound compared to the Kuzhal. Term such as Palliyam is referred to an orchestra Pal-mony-iyam - instrument. It sould be noted that iyan is a term used for a musical instrument and iyam is used for literature, slight variations in the terminology. Many references are given to Palliyam and Inniyam (sweet sounding orchestra) in the Sangam works.

Chendanar’s Divakaram (18th Century) and pingalai Nigandu (12th Century) are two lexicons in Tamil containing references, to Music. Kalladam a work belonging to the 6th century A.D also contains valuable information regarding Yazh, and modal shift of Tonic. There is also a mention of Lord Siva rendering the Alatti of the Sadari Pan to save Panabadra an episode in the Tiruvilayadal Purana. Such references are also found in Pattuppattu.

PattuPattu

Similar to the Ettutogai the ten works collectively known as Pattupattu contain valuable information regarding the Paanar, Pan, musical concepts and instruments. The ten works are Tirumurugatrupadai, Porunaraatruppadai, Cirupaanaatrupadai, Perumpaanaatrupadai, Mullai Paattu, Madurai Kanchi, Nedunalvaadai, Kurinjipaattu, Pattinappaalai, Malaipadukadam.

Aatruppadai

A unique culture is revealed in the collection of Pattupattu called Aatruppadai - prevalent among the paanars. The term Aatruppadai means to guide - aatrupaduttudal - to lead (aaru-path; paduttudal- to lead one towards it). During the Sangam period a paanan who performed in the presence of a king gets his rewards and while returning if he meets another paanan on the way he narrates his experience and details of gifts and helps the others to show him the way to benevolent patrons. This very healthy cultural exchange is revealed through the Pattupattu literature and it also epics the wandering musicians helping nature to one and another.

Thirumurugaatruppadai

A work by Nakkirar contains references to shrines of Lord Muruga such as Thirupparankunram, Thirucheeralaivai, Thiruvaavinankudi, Thiruveragam and Pazhamudircholai. In Thirumurugaatruppadai the concept of aatruppadai is slightly different in which the patron is Lord Muruga, the seeker is the soul, and the guide is the preceptor. Therefore here the seeker is not after materialistic wealth. The concept of Jivatma, Guru and Paramatma is embedded here. Musical instruments such as the wind variety, conch, murasu, tondacirupara, muzhavu and the Kurinjipan have been mentioned.



Porunaraatruppadai

The suffix aatruppadai reveals that four such works of Pattupattu are of the aatruppadai variety where the lives of Porunar are described in this work. This work is attributed to the poet Mudattaama-kanniyaar who was patronised by the Chola King Karikaalperuvalattaan (&rf)&rr<so Quêuetr^rrm) The initial verses of this work describe the various parts of the yazh namely pattal, pacchai, porvai, aani, vanivai, maruppu, tivavu, narambu, todayal (uppeo, u&su><y, (Sunrrieneu,euQeumLi, ld0 l/l/, $euey, njtjtbL-f, Ogrresu—ujeo)

Ciruppanaatruppadi

This is an aatruppadai work of Ciruppaanar who played on the yazh having lesser number of strings. Such a paanan goes to a patron called Oimaanaattu Nalliyakkodan and while returning conveys the details to another paanan. This work has been authored by Idikalinaathu Nallur Nattattanaar. The Circuppaanan plays on the Seeriyazh having lesser number of strings which are described as shining like columns of melted gold. The pan Neivalam is been played on such a yaazh by the “Kaivalpaanmagan” meaning the Paanan possessing expertise in finger technique.

Perumpaanatruppadai

The perumpaanam is the one who plays on the Periyaazh. Thondaman Ilanthirayankural Kanchi has been praised by a poet called Kadiyalur Vuttiram Kannanaar. In this work parts of the yazh. Kurinji pan being played on Vilyaizh, Palai, pan played on Venkuzhal Tannumani, Murasu, the dark holes of the flute due to seasoning on the fire have been mentioned. Such a present techniqqe adopted in the flute is revealed as an ancient method from a literary source which is the vital contribution of the language.

Mullaippaattu

This has been authored by Nappudanaar son of Ponvaaniganaar belonging to Kaviripompattinam. The hero who goes to war comes back victorious. His wife who suffered from his separation is listening to his victory which is being sung by her tozhi or friend. Many instruments such as Vayir, Conch being sounded together and the buzzing sound of the bees equated to the sound of the yaazh and the sound of the waves being musical are being referred to.

Madurai Kanchi

Maangudi Marudanaar sang this work in praise of Paandian Neduncezian. There has been a variety of Koothu called Thunangaikoothu depicting the dance

of women who are in trance. It is also said that this is a genre of dance which attributes the deeds of women to spirit like entities. In an interesting reference the recitation in of the Brahmins are compared with the buzzing sound of the Dragon Fly. Pan marudam was played on the yaazh and an orchestra comprising of yaazh, voice and muzhavu is mentioned. While describing the murasu at times the skin of the bull without being seasoned has been tied to the murasu. In the king’s court the paanar, the paathiyar (women singers), yaanar (the yaazh players), poets and the vayiriyar (performers of the wind instruments - vayir) were welcomed.

Nedunalvaadai

Poet Nakkirar has sung this in praise of goddess kotravai to appease the sorrow of separation of the queen of Pandian Nedunchezhian who went to fight the war. The vayir instrument has been described as having the sound of the cooing of the peacock. The women dancers were also well versed in music as they sang and danced in front of the queen. The changes taking place in the strings of the instruments due to the weather is also mentioned. For example the strings of the Seeriyazh get loosened due to tthe damp weather.

Kurinji Paattu

This has been composed by Kapilar. This describes the musical tradition of the hilly area. The Kovalan or the Shepherds play on the aambal Kuzhal in the evening. Naivalam is mentioned as a derivative of Palai Pan. In Kurinji paattu a reference is given to women dancing on a rope to the accompaniment of rhythmic instruments, which reminds one of todays street play,

Pattinappalai

This has been composed by Kadiyalur Uruttinan kannanaar in praise of the Chola King Karikaal peruvalattaan. The music of the maddalam, yaazh, kuzhal, muzhavu, murasu and tudi are described. As this deals with the people of the Neithal region or the coastal area a description is given regarding as to how they enjoy the full moon night with song and drramatic events “paadal orthum nadaga nayanthum vennilavin payan tuyitttum” 113-114. In the following lines different words are used for the various tones of the musical instruments.

“Kuzhal agava yaazh muralamuzhavu adira murasu iyamba” 156 - 157

Malaipadukadaam

This was authored by Iraniyamuttattu perumkunroor perumkausikanaar in praise of palkunrakottattu senganmaathuvel nannarceinannan. As this deals with guiding the koothar - the dramatist music is given a lot of importance. Therefore this


work is also known as koothar aatrupadai. Women sang the vallaipaadal during pounding tthe Tinai grain. The pan kanchi belonging to the Sangam period was sung to soothen the pain off the soldiers which was rendered by the Kodicheer women and while singing the neem leaves were used as cure.

Panchamarabu

This is an important treatise writer by Cerai Arivanar who has referred to reference to Pandiyan Tirumaran in Isaimarabu-verse - 7 while referring to the yazhas.

Periyazh pinnu makaraj cakodamudan Cirpoli senkodu ceppinarat - tarpolinda Manna Tirumara Vankudar Komane Yinna Mulave Sila.

(It reads as though he is addressing it to the king.) Belongs to the third Sangam. This an excellent work written in detail regarding aspects of music, dance and other related subjects which were referred to by Adiyarkkunallar while he wrote the commentary for Silappatikaran. Many other treatises dealing with dance and music written in Tamil have been lost but Panchamarabu is available to us.

The term literature is known as Iyal in Tamil. Iyal consists of five segments Ezhuttu (letter) Sol (word) Porul (meaning) Yappu (Prosody) Ani (Aesthetics). Similarly the Pancha Marabu a treatise on Fine Arts represents the Five (Pancha) Marabu (traditions), Isai (Music) Muzhavu (Percussion) Kuttu (theatre) Avinayam (Abhinaya) or Vinaya and Talam (Rhythm). These are known as Isaimarabu, Vacciya Marabu, Nirutta Marabu, Avinaya Marabu and Tala Marabu. Each chapter has many sub divisions.

In the Isai Marabu, the yazh (harp) and its varieties, the wood used and the parts of the instrument, the number of strings, (narambu-gut) the technique of play, Palai (scale) and the Pans have been expalined. One hundred and three Pans have been referred to. The other areas are the vangiya or wind instruments and the Kanda Marabu which deals with the human voice and the musical forms the dos ad donts for the singers known as guna and dosha are discussed. This is just an example to reveal the indepth study and material which is vast that is available in Pancha Marabu. The Venba metre is used. It is said that Arivanar had also written two other works known as Panuvartokai and Aintokai. Panchamarabu consists of two hundred and forty venba-s. Some of the verses defining musical concepts are given below as examples from the work,

In the Vangiya Marabu of Isai Marabu the 28th verse describes the music of the flute called vangiyan. Here the solfa letters s r g m p d in are mentioned, as sa rii ga ma pa da ni the Satta(Sapta) ezhuttal (letters).


28 Srg mpdn yenunj satta ezhuttalvariparanda kanmadavaai vaikkat terivariya Ezhisaiyun tonrumidanulle pan pirakkum Culmudalaai Suttattulai

It is explained as while the music is bom from the vangiyam or flute it is known a s s r g m p d n meaning as Ezhisai or seven notes, out of which the pan is bom.

There is a verse which defines the birth of Pan and the method in which it manifests.

51. Paavodinaitta isaiyendraar Pannendrar Tovaap peruntan mettanum-pSva yeduttal mudalavirunankum pannir padutta maiyat pannendru paar.

That which merges with poetry is isai or music - (Pavodinaittal Isai endrar) they say - The eight tana-s(or sthanas) meaning centres of the body or regions. (1) Head (2) throat (3) Chest (4) nose (5) lip (6) teeth (7) tongue (8) end of the tongue (uvula) (Talai, Midaru, nenchu, mOkku, udadu, pal, nakku, annakku.) eduttal mudala virunankum means the eight kriyas of creating the sound variations called as Eduttal, Paduttal, Nalidal, Kampittal, Kutilam, Oli, Uruttu, Takku which are sound variations created in conjunction with the eight regions of the body. All together create pan. Pannudal and therefore it is called as Pan, a deed done to produce the sound. One can equate it to the Nada Utpatti.

Other Important details in Panchamarabu

The Isaimarabu explains the seven palai-s (scale) and the derivatives - Pan-s. Here the Vattappalai is mentioned where the 12 houses of the Zodiac are given where the twelve notes are placed. The 103 Pans are classified as Perum Pankal 16, Tarappan - 1 Palaitiram - 20, Kurinchitiram - 32, Marutatiram - 16, Cevvazhitiram - 16, Paiyul Kanchi - 1, Padumalai - 1 and the total being 103.

The concept of Alapana is known as Alatti in which the consonants and vowels are used. The role of language is not only important in compositions. Even in the abstract form of Alatti syllables matter. Tenna, Tena, Tennathena are used. One should use kuril (short) and Nedil (long) syllables, known as Accu (, /<&s0 and Paranai {unrrm<sm).

Among the eighteen consonants only ma, ta and na are used.

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44 Isai Marabu“Kunrak kuril aindum koda Nedil aindum Ninranda Mannakaram Tavvodu - Nanraka Nilattal ettum Nidanattal Ninriyanga Alattiyam Enrari.”

Alatti is of three types Kattalatti, (sung with Accu along with tala)

Niravalatti sung with dance (Kuttu)

Panna Iatti concentrates on the Pan in particular Cindu, Tripadam, Savalai, Sama, Padam, Sendurai, Vendurai, Devapan and Vannam are the musical compositions mentioned by Arivanar.

Pancha Marabu is a store house of material which has preserved our traditions of music, dance and instruments along with various sub-divisions in Venba a metre that which is said to be a difficult variety of Tamil Poetry. Thus poetry of the language preserved the musical history of the Ancient Tamils enshrined in Panchamarabu of Arivanar of Chearai a Sangam classical treatise, wich has preserved a heritage of artistic wealth.

The Panniru Tirumurai of the twelve sacred books o f saivism.Music composition in Tamil Language

After the sangam age the Bhakti era begins with the A1 wars and the Nayanmars. Saivaite tradition along with many poetic variety and the Pans were systematised and congregational work ship was propagated by the Nayanmars.

Among the twelve tirumurai - s the first three contain the works of Tirujuanasambandar who hailed from Sirgazhi. The 4th, 5th, and 6th consist of Tirunavukkarasar’s poem, the 7th Tirumurai comprises of the songs of Sundaramurthy Nayanar. The 8th Tirmurai is the work of Manikkavacagar the Tiruvacagam and the Tirukkovaiyar. The ninth Tirumurai is the TiruvisSippa and Tiruppallandu of nine poets. The Tenth is Tirumular’s Tirumandiram. The eleventh Tirumurai is a collection of various poems of eleven poets including Karaikkal Ammaiyar. The Twelfth is the Tiruttondar Puranam or Periyapuranam of Sekkizhar.

The varam or the varappadal is so called as it follows the medium pace, the second variety of the four degrees of speed Mudandai, Varam, Kudai and Tiral. Varappadal is said to be rich in melody and text. References to Varam are found in Cilappatikaram as ‘Varam padum toriya Madandai which reveals that varam was a popular musical form, invocatory in nature sung by senior women musicians at the beginning of the event of Madhavi’s dance.

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Tolkappiyam mentions that an original work could be marred by a bad translation similar to good varam singing becoming mediocre by bad accompaniment.

Mudal valiyayinum yappinat citaiyumVallon punara varam ponre (Tol : Marabiyal 108)

Varam punartal is to join the varam singing by an accompanying instrument.

This varappadal attained it’s glory in the hands of the Tevara Muvar or the Tevaram Trinity. Tirujnanasambandar is considered the youngest composer who sang at the age of three who has blessed with divine milk by the Godders of Sirkazhi. He lived upto 16 years but has sung in many types of poetic forms such as Tirumalaimatru (Palin drome), Tiruttalacati, Ekapadam, Tiruvezhukottrirukkai, Naladimelvaippu, Tiruvirukkukural Iradimelvaippu, Tiruvyanakam, etc to name a few. He has sung in twenty one pans.

Tiruvnavukkarasar has compoed in metres known as Tirunerisai, Tirukuruntokai, Tiruviruttam and Tiruttandagam. Sundaramurthy Nayanar has sung the Tiruttondattokai listing out the sixty names of the Nayanmar-s. This later enabled Nambiandar Nambi to compose the Tiruttondar Tiruandadi and later was developed into the Tiruttondar Puranam by Sekkizhar.

The Oduvar tradition which was systamatised by King Raja Raja Chola creating endowments has preserved the Panniru Tirumurai and the Pan System. The Saiva temples and mutts have preserved this literary forms and the tradition of Tevaram Music. Today the Tevarams are also performed as concerts and the listeners enjoy the lyrical and the melodic excellence. Other literary works like Manimekalai, Perunkadai, Civaka Cintamani Udayanakumara Kauyam and Yasodara Kavyam have many references to music concepts and musical instruments.

The Nalayira Divya Prabandham

From the 5th Century A.D language played an important role through the advent of the Vaishnavaite Saints and the Saiva Nayanmars. They poured out their heart in the form of excellent poetic forms rendered in Pans and various talas. They not only propagated devotion but also enriched the language and the musical tradition.

The works of Alwars

The “Aruliccheyal” or the Divyaprbandham numbering four thousand are composed by the twelve alwars. Poykai alwar bom in Kanchipuram, Tiruvehka composed the first Tiruvandadi. Bhutatalwar belonged to Kadalmallai composed the second Tiruvandadi. Peyalvar bom in Mylapore wrote the third andadi. Tirumazhisai Alwar who belonged to Tirumazhisai wrote both Naanmukan Tiruvandadi and the Tiruchanda Virutttam.


Nammazhvar who came from Tirukkuruhur composed the Tiruviruttam, known as the essence of the Rigveda and the Periya Tiruvandadi, Tiruvasiriyam and the Tiruvaimozhi. Madura Kavi hailing from Tirukkolur sang only in praise of his guru Nammalvar and that too one song known as “Kanninun Siruttambu”. Kulasekhara Alwar bom in Tiruvanchikalam in the Chera century sang the Perumal Tirumozhi in praise of Rama. Periyalwar or Vishnuchittar hailed from Srivilliputtur sang the Pallandu considering him as the mother of Lord Krishna and hence the name Periyalwar. He also composed the Tirumozhi.

Andal the daughter of Periyalwar sang the Tiruppavai and the Nachiyar Tirumozhi.

Tondradippodi Alwar bom at Tirumandangudi composed the Tirumalai and Tiruppallierhuchi. Tiruppanalwar sang the song Amalanadippiran and he came from Uraiyur.

Tirukkarayalur is the birth place of Tirumangaiyalwar who composed the Periya Tirumozhi, Tirukkuruntandakan, Tiruneduntandakam, Tiruezhukkutrirukkai Siriya Tirumadal and Periya Tirumadal.

The above mentioned poetic forms are known as the Dravida Vedam and the recitation done by the Vaishnava scholars lead the procession followed by the deity, thereby giving the pride of place to the Nalayira Divyaprabandham. The sonorovs method of the recitation is a speciality where the language and the musical tones create a very special devotional atmosphere.

Apart from this stylised recitation the hymns are also sung in the pans such as Mudimdakurinji, Serundi, Indalam, Takka ragam, Nattam, Pazhantakkaragam, Panchamam, Kaisikam, Palaiyazh, Nattaragam, Nattapadai, Viyandan, Kolli, Puranirmai, Sikamaram, Kamaran, Takkesi, Kurinji, Gandharam and Panchuram. The talas used are Ezhotttu, Idaiyottu, Nadaiyottu, Onbadottu. The ottu word could mean the way in which the cymbals are used to depict the tala and the names suggests the seven beat, nine beat, stressing the middle beat and the nadai or count.

The Nalayira Divya Prabandham were revived by sage Nadamuni who arranged them in the order that is prevelant today. His nephews Melaiagattalvar and kizhai agatalwar rendered these rhymns in the temples which paved the away to the ‘Arayarsevai’ a method of singing, dancing and narrating in front of the deity happening on particular days of the year. It is believed that the Lord himself blessed then with the titles “Manavalapperumal araiyar” and Nadavinodaaraiyar giving them the headgear and shawl known as Tongal Parivattam. This information

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is given in the “Koil Ozhuku” a record of the Srirangam Temple. The practice of wearing them and performing the Arayar Sevai happens even today. It forms an important part of the Sodasa Upacara, the sixteen rituals performed in temples.

Many Pans and musical instruments have been mentioned in these prabandhans. The Nalayira Divya Prabandham have been handed down and has been in usage from 5th Century A.D. The entire hymns and the commentaries on them are a treasure to the language, music and culture. The other type of literaiy works to be mentioned are the Pillaitamil, Kalambakam, Satakam, Malai, Andadi, Pallu, Kuravanji, Nondicindu, Cindu, etc.

The Tiruppugazh or Arunagirinatha belonging to the 15th Century were sung mainly in praise of Lord Muruga. Arunagiri was a contemporary of the Emperor of Vijayanagar the Prauda Devaraja II. This is referred to by him in his Tiruppugazh ‘Adalacedanarada’, as “Prauda deva marajan”. Being proficient in both Tamil and Sanskrit his poetry is in the Manipravala style. ‘Tiru’ means divine or beauty and Pugazh means praise. His poems are called as the examples of the vannams seen in Tolkappiyam. These are rhythmic structured hymns closely following a pattern of Chandam known as “Chanda Kuzhippu”. Arunagiri is given the title of ‘Candapavalaperuman’. He is also the author of Kandaranubhuti, Kandarandadi and Kandaralankaram which are very rich in literary excellence. Tiruppugazh do not have any sections but consist of 4,8,12,16 or more lines set to a patticular rthythmic style.

The Tancol or Tongal occurs at the end of the first, second or the third line.

An example of a Tiruppugazh and the Chanda Kuzhippu.

Niramaya Puradana Parapara Varamrta Nirakula Ciratika Prabhaiyaki Tanatana tanatana tanatana tanatana tanatana tanatana tanatana

Prabhaiyaki is the Tongal which enables one to give a pause as the poem is packed with words without a break strictly following the Chandas.

Arunagirinatha’s poetry stands out as a special genre in musical repetrire. It is a treat for not only musicians but also to Mrdangan Maestros who played seperate Tani avartana for the various rhythmic structures as they do not follow a tala used normally but are called as anga tala depending on the combination that has been chosen by the composer himself. These can be set in 35, 108 or 112 talas. If Tevaram are a repository of Pans the Tiruppugazh are that of Tala patterns.

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The Kirtana Form

Muttutandavar is considered the first to have composed Tamil Kirtanams and also Padams is praise of Lord Siva. He too hailed from Sirkazhi, and was inspired by the Lord of Chidambaram and his songs are in praise of Him.

The Kirtana is also derived from Keerthi or praise. The Kirtana with Pallavi, Anupallavi, and Charana sections are common to all languages. It is Annamacharya who is given the credit of introducing this form and from poetry a transition came to the area of musical forms where the Sahitya became simpler and the music getting lofty.

Marimuttapillai belonged to Tillaividamgan who has composed many kirtanas and other literary works like Tutu, (gugi) Kuravanji, Nondi Natakam, Puliyur Venba etc. He has also written many songs in the Nindastuti called vanjaka pugalci. Outwardly it might look as though one is teasing the Lord but it is a form of praise. This is an old tradition found in Tevaram and other forms. Madhura Bhakti or Bridal mysticism has also been an area of literary style of worship. The emotional appeal of such text and the mood depicted by suitable melody began to gain popularity with the forms composed for dance especially.

Musical forms such as Padavama, Tillana, Alarippu, Sabdam etc in not only Tamil but in Telugu and Sanskrit.

Ramaswamy Sivan, Ghanam Krishna Iyer, Papavinasa Mudaliar, Koteesvara Iyer, Ramalinga Swami (Arutpa and other poetical forms) Papanasam Sivan, his guru Neelakanta Sivan, T. Lakshmana Pillai, Sarva Samaya Samarasa Kirtanas of Mayavaram Vedarayakan Pillai and many others like Periyasami Tooran have contributed in large measures. The Siddhar Padalgal contain mystic philosophical ideas.

Kavadichindu

Annamalai Reddiyar’s Kavadi Chindu, the Patriotic songs of Subramanya Bharatiyar called as Mahakavi belong to special category each carving his own niche.

Bharata Chaathiram

This work was published in 1952 by the Thanjai Karanthai Tamil Changam. The author Arapatha Naavalar belonged to Tirupperunthuras. Apart from the preface, there are four chapters dealing with Bhava, Raga, Tala and miscellanneous. Since this work refers to Sangita Ratnakara it might have been written after 13th Century.

Bharatha Senaapatheeyam

This was brought out by the U.V Swaminatha Iyer publication in 1958. This deals mainly with dance but contains information on music, tala, raga etc. Parts of work is not available.

Mahabharata Choodamani

This is also a publication from the U.V. Swaminatha Iyer library brought out in 1955. The name of the author and the period is unknown. In the preface it says that the “Mahabharatam” is the original of this adaptation but however it is not a translation and the author says that he has referred to many other treatises to write this. In the music section the swaras, palai, srutis, dasavida gamakams, vadi- samvadi are all discussed. This work contains information on music and dance.

Caccaputa Venba

The author of this work and his time is not known. In this the structure of 108 talas has been explained. 113 talas have bean mentioned in his work. Beginning with Caccaputam, Caacaputam, the five marga talas originated from the five faces of Shiva. The six to the 113th, ie the 108 talas have been enumerated by Agatthiyar.

The YazhnoolAnother important treatise on Yazh was written by Swamy Vipulananda,

published by the Tanjavur Karandai Tamil Sangam, in 1947. It consists of a preface, parts of Yazh, the strings, Palais and their derivation, Pans, Tevaram, and other details.

The Karunamrta Sagaran

This is a magnum opus of Abraham Panditar who lived in Tanjai published this work in 1917. This work consists of 1346 pages and has been divided into four parts. The first part contains the musical history of the ancient period and also lists many names of composers. The second part discusses the concept off 24 Srutis propounded by the author. The third part deals with Pan and its classification, in a chronological manner. The fourth section deals with the four Palai’s such as Ayam (Linear) Cathuram (square) Trikonam (Triangular) Vattam (circle) along with varieties of Yazh, the human form and the Yazh structure etc.

Tamil Treatises on Music

Apart from these many other works on music and musicology have been written by scholars of merit.


The language and music are best enjoyed in vocal music. In the human voiceapart from he linguistic appeal and the melodic beauty lies another dimension,the emotional potrayal through the delicate shades of the modulation of words andraga nuances, in different timbre of voices. The highest sophistication of KamaticMusic has been achieved through the oral tradtion which is the only system ofclassical music which contains the very large repertoire in not only Tamil but inSanskrit, Telugu, Kannada and Malayalam composed by various great composerseach creating his or her style and variety in poetry and prose. The prosodicalmarvels created in the Sahitya have kept growing century after century expandingthe horizons of human creativity. The contribution of the musicians starting fromthe panars upto now have carried on this hoary tradition from one generationto another and thereby helping in the preservation and propagation of a unique genre.

Conclusion

Language and music have enriched not only the classical music arena but also devotional music, theatre, dance, folk and popular music. It is the texture of the language that will result in the genre of music which is like the flower and it fragrance. Bhanachathiram, Bharatasenapatiyam, Mahabharata, Choodamani, Caccaputa Venba, Yazhnool and K Sangaram.


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Contribution of Kannada to Classicism of Karnataka MusicR. S athyanarayana

The word ‘classical’ lexically refers to the highest class or rank especially in music and literature. It was used originally and chiefly for the Post-Roman or Greek authors in literature or to the best masters in music. It means chaste, refined, restrained, in keeping with classical arts. It also means traditionally accepted or established. Classicism means a classical idiom in literature, music etc. It further means a principle or tendency marked by beauty of form, good taste, restraint and clarity as opposed to romanticism. In western musical parlance, it is used for works-which have held their place as masterpieces in general, esteem for a considerable time. It is also used approximately to new works, which conform to this type and style. It is generally applied to works in the late 18th cent. AD in forms such as instrumental works in the sonata form and opera composed according to received traditions. In this sense, it is used as the opposite of romantic. For the purpose of this presentation, 1 adopt the foregoing lexical meaning of a principle or tendency in music marked by beauty of form, good taste, restraint and clarity. By Karnataka music -also spelled kamatic, or camatic -1 refer collectively to the art music traditionally practised and performed in terms of traditionally accepted repertoire, as distinct from folk music, sugama sangita, religious music etc.

Music and language have a community of origin viz. sound and rhythm. As a consequence, they have many similarities. Two among these are relevant to this paper. The first is the well-known linguistic phenomenon called speech melody. It is within common experience that every language-as spoken by the natives, reveals a sing-song character which may be called its melody. It is a band-spectrum of miniscule Intervals, linked into continuous stream of miniscule tone inflexions, which are analogous on a macro-scale to gamaka. Each line in the spectrum is analogous to an individual’s peculiarity in speaking, similar to vaikrtadhvani of the Sphotasiddhanta. Dialectical recensions of a language have speech melodies, which vary within narrow limits of the general speech melody of the language. Speech melody is a product of the collective consciousness of a linguistic group and is its characteristic manifestation. It is inextricably entwined with a characteristic speech rhythm also. These are being now studied as fuzzy phenomena in ASR (Automatic Speech Recognition) in the field of artificial intelligence (AI). Speech melody and speech rhythm, depending on the nature of the phonemal content and their combinatorial peculiarities contribute to the euphony of the language, which is an important factor contributing to the musicality of a language. Of course, euphony is a relative term and is a matter of habituation and taste. Nevertheless, some comparison of extremes may be made between say, Jayadeva Sarasvati’s ‘komalakantapadavSli’ and Bana’s literary style.



The second similarity is the curvature of tone, which in music is called gamaka. This is emphasised so much that music is sometimes described as the language of emotions. In any case, there is no fine art. except literature, which has such overwhelming affiliation to the spoken word than music, be it art music, light classical, folk, film or religious, in all cultures. This is because music has the ability to suggest, indicate, support, augment or emphasize word meanings in an emotional environment. It acquires this ability because of an inherent quality of sound viz. curvature, which takes the form of gamaka and kaku. These are useful when exaggerated, in simulating moods, feelings and emotions to some extent. Musical sound offers, even at the sacrifice of its own expressive autonomy, an attractive medium for the conveyance of verbal meaning. Music is then reduced to its secondary function as a vehicle; but then, this is for music, an important, ancient function coeval with the samaveda. In fact, the non-verbal expression of music in a Karnataka music concert is somewhat less than the verbal on the average. Karnataka music is word-dominated in its repertoire. Even those compositional forms in which music predominates necessarily contain at least a modicum of words.

In order to qualify for classicism a musical form should possess ten merits and omits ten faults. These are described in the NardTya sTk$a SangTtaratnSkara Nartananimaya and other sastra texts.

The merits of song are:

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Many of these relate to the word content of the song. Thus vyakta is explicitness of svara, syntactical construction, pOrna has metrical structure, words, raga, svara and full-bodied gamakas; prasanna is instantaneous intelligibility; sukumara is vocal tenderness; alankara has a range of three registers; sama is even distribution of syllabic content, tempo and register; surakta is the fusion of vTna, voice and flute; and, $lak$na is smoothness of high and low notes rendered in the three tempi; enunciation of words in a high clear pitch is vikr$ta; madhurya is popular appeal, grace and sweetness.

The faults are : inconsistency with worldly usage, Sastra, the Veda (or fundamental pitch) and contemporaneity. Other faults are: extraneity to the art. disorder, wrong meaning, vulgarity and ambiguity.

Pandarika Vitthala further says in his Nartananimaya:

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Bharata lists the merits and faults of kavya as follows: $le$a (synthesis), prasada (perspicuity, instantaneous intelligibility), samata (evenness in word composition and consistency in figures of speech), samadhi (special elements which appeal to genius), madhurya (tolerance to repetition), ojas (grandeur and exaltation), sankumarya (sentences of easy enunciation, euphony and pleasurable sounds), arthavyakti (directness and agreeable expression of even unpleasant, common and worldly events), udarata (loftiness) and kanti (lustre). He lists the faults of poetical expression ten in number: gOdhartha (devious meaning), arthantara (superfluous, extraneous meaning), arthabTna (meaningless), bhinnarthaka (indecent, vulgar, different than intended), ekartha (tautology), abhiplutartha (want of synthesis), nyayadapeta (lack of logical consistency in space, time, art and theory), vi$ama (defective metre), and visandhi (hiatus).

The foregoing discussion relates to the merits and defects of a song, which is matu prdhana, and which can afford a long word-description as for example, in poetry or drama. This could accommodate the above-mentioned merits and eschew the defects. However, the song forms of Karnataka music of today are different in many ways. They are limited to a very few lines and to a slion literary theme which is usually description, praise, prayer, moral exhortation, or religious, spiritual or sociological value. They are generally addressed to the common person in a quasi-literary style, which can accommodate only a modicum of scholarship, poetry, or elaborately ornate figures of speech. The segments are short and can contain only brief literary and musical ideas and leave some scope to the performer for musical elaboration. In a multi-stanza song (in which all the stanzas are set to the same music), only the stanza


carrying the composer’s signature, is performed. Repetition of a segment like a pallavi or the anupallavi after every other segment is not a fault but a structural principle. Repetition of anupallavi in the music in the second half of the stanza is not a fault but a distinguishing musical style. Rhyming is used sometimes as point of renewal in the taldavarta. Such differences could be multiplied. Therefore, there is now a need to restate the literary criteria and norms for the matu content of Karnataka music.

Karnataka music songs are composed and performed today in Sanskrit, telugu, tamil, kannada, and malayalam and to a much lesser extent in manipravalam and hindi. Kannada is a member of the Dravidian group of languages. It shares many common features with them, differs with them from the Aryan languages, and has many distinguishing features of its own in phonemal content, nominal, pronominal, verbal affixes and processes, syntactical and other grammatical features. For example, its alphabet consists of 47 letters, includes e (s>), o (eo), u (era), Ja (tf), and omits the r

f (adja), lr(°e)), IF (Hra), sa (zf), $a (stf), anusvara, upadhmanTya, jihhvamullya of the Sanskrit alphabet; originally, it also omitted aspirates except in the sama-samskrta words. It omitted the diphthonga. ai and au also. Its nouns operate with three genders, two numbers, and five inflexions (vibhakti). Its ad-jectival terms can be used for qualifying adverb and nouns. The verbs may be positivised and negativised by simple processes. Kannada has evolved in three phases called old, middle and modem. It has borrowed freely from Sanskrit english, tamil and other languages. It has added some words to Sanskrit. Kesiraja, the most renowned Kannada grammarian of the 13 cent, summarises in his sabdamanidarpanam, the distinguishing features of Kannada

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A more detailed account is beyond the scope of the present paper. It suffices to mention here that the vacanas of sivasaranas (12th cent. AD +) and poetry from epic poets (10th cent. AD +) are performed in ragas of Karnataka music, while the songs of Sivasaranas and haridasas (14th -15th cent. AD +) are performed in the classical ragas and talas of Karnataka music.

---------------------------------- THE MUSIC ACADEMY MADRAS ---------------------------------- | ---------------------------------- THE MUSIC ACADEMY MADRAS ---------------------------------

i The languages in which Indian musical forms were composed and performed before| Indian music dichotomized into the northern and southern recensions were samskrta,| prakrta, saura$tra, saurasenT, magadhi, and apabhramsa. The vernaculars in which

songs were composed were kannada, telugu, and tamil. bhandirabha§a was specially f created and used for music compositions from the 12th to the 18th cent. AD. Among the1 de$T languages, the most songs were composed in karnatabha$a. These are describedi in early musicological treatises. The earliest are from Matangamuni (BrhadddSeT 650

-700 AD) and include kanda, varna, varnasara, ela, kaivata, Sukasarika, Sukacanacu and caturanga. Nanyadeva (1097-1143; Bharatabh3$ya) describes more than 25 song

f forms in kannada; many varieties of ela, dvipadi, madhumadhava, varna, ranarnga,| mrgam&aka, tryambaka, tri vi§ta, bhavatri vikrama, trikota, krsodara, caturubhuja, vijaya, caturyuga, pitamaha, caturasra, catuscarana, caturmukha, pancahana and pancabana.I Sarvajna SomeSvara III (Manasollasa 1121 AD) describes tripadT, catuspadT, satpadl,| many varieties of ela, kanda, sukasarika and vicitra. Samgadeva (SangTtaratnakara,} c. 1240 AD) describes kanda (29 varieties), varna, varnasara, tripadT, catuSpadT, §atpadT,[ as well as the salagasOdas. Jagadekamalla and ParSvadeva also delineate these and similar prabandhas.

[ (Musical illustrations were given by Sangitavidwan R.S. Nandakumar)i

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Bhakthi, as expressed by SRI THYAGARAJA and MAHARAJA SWATI TIRUNAL through their compositions.

By V. Subramanyam

Gur (Sastras) scriptures have categorised human desires or human goals into four : Dharma, Artha, Karma and Moksha. These are termed ffa

That which is desired by human beings is Purushartha. “Dharma” denotes the desire to lead a Dharmie life as stipulated in the vedas and also appropriate desire to do Charity. Artha means the desire to acquire wealth in accordance with the norms laid forth by Dharma. For the maintenance of one’s life acquisition of wealth is unavoidable.The desire for pleasure, enjoyment and entertainment comes under the next Purushartha “Kama”. The fourth Purushartha is Moksha which means liberation from the cycle of birth and death, Among the Purusharthas, Mokshaoccupies the highest order - Prime of place. The option of choosing the Purushartha is to entirely left to the free will of the individual. The wise and emotionally mature would target moksha as the ultimate goal of life pursuiting the other Purusharthas only to the extent necessary for minimum worldly transactions and such persons are a small number. The majority pursue Artha and Kama getting bogged down deeper into the mundane life with the entailing trials and tribulations.

A study of Thyagarajas life clearly reveals that at no point of time he had any inclination for Artha and Kama. Leading an austere life depending on alms he received from his “Unchavritte” his attention was always focussed on “Aradhana” of his Ishtadwata, Srirama and singing His praise paving the way for his ultimate liberation. Maharaja Swati Tirunal as a ruler of Travancore had no desire about Artha and Kama, as he was in the midst of plenty. The Royal Composer was a great Bhaktha of Lord Padmanabha his Kuladevata and as the Travancore Tradition goes he was ruling the kingdom on behalf of Lord padmanabha as his dasa. Even today the head of the Travancore Royal family is known as Padmanabha Dasa. Swati Tirunal was never attracted to the pomp and pleasure of Royal life. Apart from the burden of ruling his kingdom and taking are of his subjects and then welfare his mind was focussd on Padmanabha, involving himself in spiritual pursuits and his ultimate aim pitched on the highest Purushartha “Moksha”. Both these compsers were “Mumukhus”- meaning persons with intense desire aimed at the ultimate goal of life - Moksha.

Adi Shankara Bhagavatpada in Viveka Chudamani says UlHiwi7TfN T (Sloka 32) “Among the recources for attainment of Moksha Bhakthi is the greatest of them”. Both the composers being it is little wonder why theywere ardent Bhaktas.


In simple terms Bhakttu denotes Move’ born out of reverence especially when it is directed towards God. In a sloka of Sivananda Lahari Adi Shankara describes Bhakthi


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In this world as the ripe seeds of the Angola tree fall to the earth and without external aid reach the tree itself, as the iron needles naturally get attracted and attached to the magnet, as the chaste woman - Pathivratha - to her husband as the creeper reaches and holds on to the tree it get attached to as the river to the ocean, the mind of man when it unswervingly gets attached to the Lotus feet of Lord Shiva it is Bhakthi. Bhakthi pervades every human activity. It runs through Karma (action) Upasana and Jnana like a string running through a garland of beads HfrmwiIW’ . It would be interestng to note that our sastras have a mantra or sloka for every human activity from WTrW11! when getting up at dawn to a suitable one at bedtime the underlying theme being Bhakthi to the Lord.

The first step of Bhakthi is worship of God almighty. This external worship matures in to inner adoration which is indicative of the sprouting or real Bhakthi which flowers into intense devine love. This leads to the joy of closeness between the devotee - Bhaktha and the devine and the joy of closeness passing into the bless of union.

The development of Bhakthi is based on the belief that God is not an abstraction, a mere impersonality but is manifested in the world and is deeply imbedded in us and thus making possible a personal relationship for the Bhaktha with God. When the Bhaktha approaches God through human emotions, response is received by the true devotee. This aspect can be clearly seen from the kritis of Thyagaraja in some he pleads to God, he intreats, he Cajoles, he surrenders, he praises, he rebuke and so on. Bhakthi aims making divine the human Bhaktha.

The music compositions of our system are largely emotional outpourings of various forms of Bhakthi of the devotee. Composer towards the Almighty. Thyagaraja in his Dhanyasi piece clearly enumerates that musical insight devoid of devotion is valueless in the attrainment of Salvation. The music, with devotion, practiced by Bhaktas like, Brungi, Natesa, Anjaneya, Agasthya, Matanga and Narada vouch this. Thyagaraja who can distinguish righteous-ness and wrongfulness and who is aware that this world is nothing but maya and who is capable of conquering the six internal enemies kama, krodha etc. is well aware of this.

— ---------------------------------------------- 1 57 |------------ --------------------------------------

In the seventh chapter of the Bhagavat Gita Lord Krishna says:-

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------------------------------ THE MUSIC ACADEMY MADRAS -----------

Ch. VII Sloka - 16.

Oh Arjuna, four types of pious men worship me; the dismissed, the enquirer, wealth seeker and the Knower.

The above classification of Bhakthi is based on the desire of the devotee. Aartha Bhakthi is the devotion directed towards God seeking protection at the time of distress. Artharthi Bhakthi seeks wealth and prosperity from the Lord. A Jijnasus Bhaktha Craves for enlightenment of the ultimate truth - Brahman and Jnani Bhaktha directs his Bhaktha towards himself as he is a person who has understood and realised that he is God. At this level the person would have no desires.Continuous Contemplation of one selfsessential mature is said to be bhaktha. This stage of bhakthi is designated Bhakthi of the highest order.

The driving force of most of Thyagaraja’s and Swati Tirunals Compositions has been Sartha Bhakthi seeking the Almighty’s help and protect ion at all times. When Thyagaraja lost the idol of Srirama which he was worshipping everyday he was in great destress and he appeals to Rama in the Kamatakas behag composition Nenenduvedkudura to help him in recovering the Idol. In the Manjari Raga piece Patti Viduva Radoo Thyagaraja prays to Sri Rama not to let go of his protective hand which has been guiding him from his birth. Swati Tirunal through many of his compositions appeals to the Almighty to save him from the ocean of Samsara.

Artharthi Bhakthi, seeking wealth and prosperity from God, had no relevance for either Thyagaraja or Swati Tirunal. Thiagaraja spumed wealth as evidenced in his famous Kalyani Composition which he sang when the ruler of Tanjore-invited him to his court to sing his grave promising high monetary compensation, Thyagaraja asks in that composition Nidhi Chala Sukhama whether wealth is the giver of true happiness or the presence of Rama, Clearly indicating his mental focus on Rama Bhakthi and not an Artharthi Bhakthi.

That both the great composers were Jijnasu Bhakthas is expressed through many of their Compositions. Mokshamu Galada in Saramathi one in which Thyagaraja's desire for Moksha is clearly evident. In this piece he asks the Lord whether Moksha is possible on this earth for those who are not Jeevanmuktas, to those who have no genuine bhakthi or wisdom. In Seethavara Sangeetha Jnanamg in Devagandhari, Thyagaraja says that one must be blessed by Brahma with Sangeetha Jnanam to be qualified to become a Jnanmukta which is the goal as declared in the Bhagavat Gita and Upanishads. In the Sankarabharana Composition “Bhakta Parayana” Swati Tirunal

addresses Ananthapadmanabha who is reclining of the Coiled serpent as “Muktida” - meaning the given of Mukti and seeking the Lords blessings in this direction.

Thyagarajas Jnani Bhakthi which is indirective of the having reached the blissful stage of Jnana or supreme knowledge is expressed in the Kriti “Paramathmudu” in vagadhishwari wherein he says that Para mathamathe Lord is shining gloriously in everything, in all the species creation made of the five elements fire, air, earth,water and space animals, birds, mountain, trees and in the good and the bad and holy devotees as Thyagaraja.

In the Bhagavatam Nine aspects of expression of Bhakthi are enumerated

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known as “Navarathnamala Keertanam” Swathi Thirunal has composed nine compostions expressing the Nava Vidha Bhakthi given in this sloka - Even though not as a malika Thyagaraja has expressed the same aspects of Bhakthi through his various compositions.

The following are the nine gems in the Malika created by Swati Tirunal.


1. Sravanam - Bhavatheeyakathabhinavasudhayam in the Raga Bhairavi - Adi Tala.

2. Keerthanam - Tavaka Namam Subhadam Prajapani - in Kedaragowla - Jhampa Tala.

3. Smaranam - Sathatham Samomaraneeha Sarasaksha Bhavantham - Needambari Misra Chapu Tala.

4. Padaseranam - Pankajaksha Tava Sevam - in Todi Raga Rupaka Tala.

5. Archanam - Aaradhayami - in Bilahari Ragam Misra Chapu Tala.

6. Vandanam - Vande Deva Deva - Begada Ragam Rupaka Tala.

7. Dasyam - Paramapurusha Nanu Karma in Ahiri Ragam - Misra Chapu Tala.

8. Sakhyam - Bhavathi Viswasom6 - in Mukhari Raga, Misra Chapu Tala.

9. Athma Nivedanam - Deva Deva Kalpayam - in Nadhanamakriya Raga,Rupaka Tala.


Some of the compositions of Thyagaraja which could be classified under Navavidhabhakthi are:

1. Sravanam

2. Keerthanam

3. Smaranam

4. Pada Sevanam

5. Archanam

6. Vandanam

7. Dasyam

8. Sakhyam

9. Atmanevedanam

Ramakathasudharasapanamu - in Madhyamavati Raja, Adi Tala.

Elavataramethikontivo - in Mukhari Raga, Adi Tala.

Smarane Sukhamu - in Jana Ranjani Raga - Adi Tala.

Sri Rama Padama - in Amrutavahini Raga - Adi Tala.

Rara Sita Manohara in Raga Hindolavasantham Rupaka Tala - Tulasi Bilva Kedaragorila Raga Adi Tala.

Vandanamu Raghu Nandana in Sahana - Aditala.

Thavadasoham - in Punnagavarali Raga Adi Tala.

Chelimini Jalajakshu - Yadukula Kamuhoji Raga - Adi Tala.

Makelara Vicharamu Ragam Ravichandrika Adi Tala.

From the above compositions of both the composers I shall now choose a few for rendition giving their meanings also.

1. In Ramakatha sudharasapanamu the Madhyamavati Kriti coming under Sravanam Thyagaraja says that the story of Rama who had come to earth with Sita, Lakshmana, Bharat ha and others is neetar which when consumed bestows on the listener - consumer - a kingdom. It would bestow on one the four Purusharthas. Being an abode of Courage and bliss it would serve him as a boat to cross the burning ocean of samsara and destroy the evils of Kali.

2. Coming under Smaranam is the Janararjani piece of Thyagaraja where he says that the very remembrance of Ramas name is joy for those bom as human beings. Does not listening to Rama Nama and filling the heart with His form cause love to be bom. The pure hearted Thyagaraya is always engaged in recalling His name.

3. In the begada raga krithi of Swati Tirunal “Vande Deva Deva grouped under “Vandanam” the Composer Says I pay obeisance at your Lotus feet of Deva Deva, the rectar and pollen emanating from which the river Mandakini

--------- -----------------------------------------------------------1 60 |--------------------------------------------------------------------

worships consort of Lakshmi, Padmanabha to the feet that danced on the hood of the great serpant Kalia which feet kept rhythm when you were playing the flute tantalising the world with its divine melody, whih are worshiped by Shiva, Sanaka Brahma, Devendra, which give Moksha and which destroy sorrows of Samsara I pay obeisence.

4. The Prince Composer Padmanabha Dasa in his Mukhari Raja Kriti falling under “Sakhyam” addressing Padmanabha prays for unwavering deep faith in the Lord who is the reliever of the various tribulations of life, an epitome of happiness, Padmanabha great Bhaktas such as Parikshit, Uddhava, Akrura who crossed the ocean of Samsara through yoifr grace and in you let me have deep unsuspecting faith.

Dhyana Avahanadi Sodasophachara pooja kramas have been included by Thyagaraja in his compositions especially in his Divyanama kritis.

Maharaja Swati Tirunal has composed many Padams and Javalis in almost all of them the Nayika pines over her separation from the Nayaka Lord Padmanabha again reflecting the aspect of Viraha Bhakthi.

Numerous subtle aspects of Bhakthi have been expressed through their compositions by both the composers and a detailed analysis of these would be time consuming and therefore beyond the preview of this paper.

Being great Bhakthas both the composers through their musice that is “Nadayoga” have been focussing their mind ony on God through out their lives and as Lord Krishna says in the VIII Chapter of the Bhagavat Geta

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Remembering Me always one who has dedicated his mind and understanding to me shall reach Me alone undoubtedly.

AlddIHfM fa-SHi ^FfSPUTi 3frT B.G. Ch VII Sloka 3

Among thousands of men there will just be one here or there striving for spirital perfection. From among the aspirants so striving one perchance knows Me in truth - thus declares Lord Krishna in the Bhagavat Gita.


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WTFtfF B.G. Ch IX Sloka 27

Again Krishna says, Oh! Son of Kunte! Whatever you do, whatever you eat, whatever you offer in sacrifice, whatever you give as charity, whatever austerity you perform - do that as offering unto Me.

Saint Thyagarja and Maharaja Swati Tirunal were two aspirants of The Truth who loved the words of the Gita and from among the millions have attained sayugyam through their Nada Bhakti Yogam. May Thyagaaja’s Lord Sri Rama and Swati Tirunal's Lord Padmanabha Shower their blessings on all.


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Release of TTK Centenary Commemorative Stamp'TTK was a man of compassion'

By Our Special CorrespondentChennai, Dec. 31. A commemorative stamp in honour of the former Union

Finance Minister, T.T. Krishnamachari was released by the Chief Postmaster - General, Tamilnadu Circle, U. Srinivasa Raghavan, at the Music Academy today. Mr. Srinivasa Raghavan, described TTK as a man with compassion, who was instrumental in introducing the family pension and social security schemes for Central Government employees. The former Undersecretary - General of the United Nations, C.V. Narasimhan, who received the first cover, said it was a fitting tribute to Krishnamachari, who had left a “ stamp of class” for the nation’s industrial progress. A man with a vision, he was the forerunner of the country’s industrial revolution and his progressive outlook laid the foundation for industrial growth. Semmangudi Srinivasa Iyer said the present academy hall was a living monument to the late TTK. He recalled his close association with the late Union Minister T.T. Vasu, son of TTK, thanked all those who had helped to bring out the stamp.

---------------------------------- THE MUSIC ACADEMY MADRAS -------------------------------- -

The Chief Postmaster-General, U. Srinivasa Raghavan, releasing a commemorative stamp in honour of T.T. Krishnamachari at the Music Academy in Chennai on Tuesday. Looking on

are Semmangudi Srinivasa Iyer, C.V. Narasimhan and T.T. Vasu.

• i fi 9 V/ 9 9 * '

Obituary

The Music Academy, Madras, reports with a deep sense of Sorrow the passing away of the following Vidvans during the year 2002

Sangita Kalanidhi Smt. MANI KRISHNASWAMY (V o ca l)

Sangita Kalanidhi Sri. K.V. NARAYANASWAMY (V o ca l)

Sangita Kalanidhi Sri. T. VISVANATHAN (F lu te )


• • c 9 0 9 • • •

O D

ISSN. 0970-3101

THE JOURNALof


Vol. LXXV 2004

w f a T5fh

* T ^ tT5T: HKlPd W t frTBff^T '^TTT II

“/ dwell not in Vaikunta, nor in the hearts o f Yogins, not in the Sun; (hut) where my Bhaktas sing, there be /, N arada !”

Narada Bhakti Sutra

EDITORIAL BOARDDr. V.V. Srivatsa (Editor)





V. Sriram

THE MUSIC ACADEMY MADRASNew No. 168 (Old No. 306). T.T.K. Road. Chennai 600 014.


A N N U A L S U B S C R IP T IO N - IN L A N D Rs. 15 0 FO R E IG N US $ 5



All Correspondence relating to the journal should be addressed and

all books etc., intended for it should be sent in duplicate to the Editor, The Journal o f the Music Academy Madras, New 168 (Old 306), T.T.K. Road, Chennai 600 014.


recommendation o f the Editor. The Editor reserves the right to accept or reject any articles without assigning reasons.



by the writer (giving his or her address in full. )

The Editor o f the Journal is not responsible for the views expressed


CONTENTS

Pages

1. Inaugural Report ofAnnual Conferences & Concerts 2003 77

I 2. Address of the Conference President Sri. T.V. Sankaranarayanan 78

* 3 I 3.f

Profile of Awardees 81

1) 4.>

Meetings of the Advisory Committee 86

5fj.

Tala-Dasa-Pranas and the Musicological problems in present day Tala system Dr. N. Ramanthan 98

*Vl

Natya Sastra - Music Chapters Dr. Pappu Venugopala Rao 122

Indian Music and Chandas 128i.

41

Two Compositions of Tanjavur Sankara Iyer and Two Compositions of Madurai T. Srinivasan 133

1 Obituary 141

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1ii

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i

4

INAUGURAL REPORT OF

ANNUAL CONFERENCES b CONCERTS 2003

f * f he 77th Annual Conference o f The Music Academy Madras was

C_ held between 18th December 2003 and 1st January 2004 a t the

T T Krishnamachari Auditorium a t the Academy premises. The conference

was inaugurated by Sri B K Krishnaraja Vanavarayar, Chairman, Bharatiya

Vidya Bhavan , Coimbatore Kendra and Chairman, Indian Cotton Mills

Federation. The President o f the Academy Sri. T.T. Vasu received the Chief

Guest and escorted him to the dais and the function started with an

invocation.

The President welcomed the Chief Guest Sri B K Krishnaraja Vanavarayar

who delivered his inaugural address.

Sangita Vidvan Sri T V Sankaranarayanan was elected to preside over

the 77th Annaul Conference o f The Music Academy Madras.


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THE M U S IC A C A D EM Y madras%

Seventyseventh Conference - 2003

SANGITA KALANIDHI AWARD

-------- THE MUSIC ACADEMY MADRAS --------

T.V. Sankaranarayanan

Bom on 7th March 1945 at Mayiladuthurai, Nagapatnam District, Tamil Nadu, Sankaranarayanan was highly influenced in his formative years by the music of his maternal uncle, the great Madurai Mani Iyer. His father, T.S. Vembu Iyer was a disciple of the titan, Madurai Mani Iyer. Sankaranarayanan started singing with his uncle and father, at the age of fifteen. Concurrent with his academic education, including degrees in Commerce and Law, his music training continued and blossomed. He opted for a full-time musical career, in the late sixties. Given his talent, this decision of Sankaranarayanan was not merely wise, but a blessing as well, as he filled, in the void resultant from the demise of Madurai Mani Iyer. Sankaranarayanan is the inheritor of a style, which can justly be called the Madurai Mani “Bani” of singing.

The passion of his mentor is evident in Sankaranarayanan’s singing. He has embellished what he learnt, with his individualistic improvisations and full-throated robustness. His approach to singing is known for spontaneous Bhava. Technique is important in this style, which cognoscenti can perceive, even in pauses. The depth and magnitude of a serious tradition of classical music is well-developed in his “Bani”.

He has received many titles and awards, including the Sangeet Natak Akademi Award and the Padma Bhushan. His association with Music Academy has been a long one, where he has risen from the ranks to today’s ultimate honour of being a Sangita Kalanidhi. The honour is being bestowed not only for his individual excellence, but also as a tribute to his lineage, which includes Madurai Mani Iyer, Madurai Pushpavanam and Ramaswamy Iyer.

{ IT }

THE M U S IC A C A D EM Y madras' 1

Seventyseventh Conference - 2003—

SANGITA KALA ACHARYA


M.S. Anantharaman

Bom on 26th August 1924, Shri Anantharaman underwent Gurukula-training under his illustrious father, Parur Sundaram Iyer. The Parur family represents Indian Music in its totality. Anantharaman is the inheritor of his father’s mastery of both the Kamatic and Hindustani music system. Apart from being an accompanist to the widest range of musical maestros, from the legendary Ariyakudi Ramanuja Iyengar, to present day stalwarts and upcoming musicians, Anantharaman is also an accomplished soloist. He has performed extensivclv in violin-duo concerts with his brother, Sangita Kalanidhi M.S. Gopalakrishnan. He has accompanied legends of Hindustani Music like Omkamath Thakur arid Ratanjankar.

Anantharaman holds a degree in Mathematics and a diploma in Indian Music. Recognised as a teacher with exceptional pedagogic merit, he served the Tamil Nadu Government College of Music for twentyone years, rising to be a Professor.

The music of Anantharaman is steeped in the best tradition, Anantharaman’s playing technique is unmistakably special and his bowing is unique. So are the subtle nuances of melody and his fluent exploration of the gamut of notes, even rare Ragas.

Anantharaman is a musician who is modest to a fault, who is generous in his praise of aspiring young talent. He is the recipient of a host of awards, including the Sangeet Natak Akademi award and the Kalaimamani award of the Tamil Nadu Government.

THE M U S IC A C A D EM Y madras* >

Seventyseventh Conference - 2003- - S



Adyar K. Lakshman

Bom on 16th December 1933, Adyar K. Lakshman joined Kalakshetra at the age of ten and began his training in music and dance under a host of vidwans. Rukmini Devi, a shrewd judge of latent potential, encouraged him to specialise in all aspects of dance. Lakshman was fortunate to be groomed by many veterans. He graduated in Bharatanatyam, Kamatic Music and Nattuvangam in 1954 and got a post-graduate diploma in 1956. His quest for learning led to his learning to play the Mridangam and to learn Kathakali from great teachers. Lakshman served the faculty of fine arts at Kalakshetra.

Rukmini Devi cast Lakshman in many dance-dramas, thus providing him practical experience. Lakshman’s artistic horizons broadened and prepared him for a Future as a Gum and as a Composer,

Lakshman was associated with Vyjayantimala Bali’s dance school, Natyalaya, for a decade. He set up his own school, Bharata Choodamani, in 1969. The work of this school of dance has been of a consistently high standard, duly keeping the technique sound and adhering to the traditional framework set by Kalakshetra. He has produced over a hundred dancers from this school, many of whom are well-established. He is a creative teacher, with originality and inspiration. He is a Gum with a busy schedule, including long stints abroad.

The Music Academy recognises Adyar Lakshman’s stellar role: in Bharatanatyam with the Sangita Kala Acharya award.

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THE M U S IC A C A D EM Y madrasf ' >

Seventyseventh Conference - 2003----------------------------- j

TTK MEMORIAL AWARD


Guruvayur Dorai

Guruvayur Dorai was bom on July 2nd 1935. His first performance was as accompanist to the great Chembai Vaidyanatha Bhagavatar in 1943. Dorai hails from a family of musicians, his sister being the late Guruvayur Ponnammal. His early training was under Palghat Subba Iyer and E.P. Narayana Pisharody before he came under the great Palani Subrahmanya Pillai. Dorai has been a leading accompanist to just about every eminent musician in South India. His technique has been the envy of many who have tried to emulate him. The vibrancy of the sound he creates as well as his perfect anticipation of the musical nuances have been admirable. Various albums by leading musicians feature Dorai as the accompanist. Without losing any of the intricacies of playing the mridangam, he has introduced many an impressive sound which has earned a place for him in international forums of percussion instruments. He has cut several discs for world music labels in Europe, and participated in international music festivals.

Apart from his nationwide tours, he has performed abroad on several concert tours from the fifties. Notable among these are tours with grand masters like VeenaS. Balachander and M.S.Subbulakshmi, and the festivals of India in the USA and USSR. He has also been a visiting professor at the University of Washington, Seattle, USA, and Western Michigan University, Kalamazoo, USA. He has received the Kalaimamani and innumerable other titles for his expertise and popularity as a mridangam vidwan. His contribution to music has also been suitably recognized by the Kanchi Kamakoti Peetam and the Ahobila Matam.

He is being honoured with the TTK award by the Music Academy.


THE M U S IC A C A D EM Y madras* ■ <

Seventyseventh Conference ■ 2003

TTK MEMORIAL AWARD

Semponnarkoil S.R.D. Vaidyanathan

Bom on March 15th, 1935, Vaidyanathan belongs to a family of hereditary Nagaswaram vidwans. His father Dakshinamurthy Pillai and his grandfather Ramaswami Pillai were both widely acclaimed artists. Vaidyanathan’s apprenticeship included stints under Vazhuvur Ramaswami Pillai, Mayuram Ramu Pillai and A.K. Ganesa Pillai. Along with his brother Muthukumaraswami, Vaidyanathan blazed a trail as a leading Nagaswaram duo, whose diary was filled with engagements ranging from temples, sabhas and weddings all twelve months of the year.

The brothers toured abroad in South East Asia and were specially invited to play at the wedding of a Malaysian prince.

Vaidyanathan has served as instructor for decades at the Annamalai University in Chidambaram. He is a specialist in “Othi Melam” and “Mallari” and has the distinction of performing the difficult “Ashtaavadhana”. His musical expertise is extensive in repertoire. He is also a treasure house of Tamil Padams.

The Music Academy honours Sri Vaidyanathan with the TTK award.


M eetings of the Advisory Committee19th Decem ber 2003

The proceedings of the 77th Conference and Experts Sessions commenced with devotional music by Sri Tripurasundaree Sameta Adipureeshwarar Tevara Paatashala rendering Tevara Padikamgal.

THE FIRST sessions of the morning conference started with a lecture on Tiruppugazh and Thevaram, an analytical study, highlighting their structural significance. Dr. Suresh explained audava raagaas and khanda gati that suit Thevaram hymns. He started with a demonstration of “Todudaiya Seviyan” Tirugnaanasambandhar’s composition in Gambhira naatai, a pentatonic raga in khandachaapu taalam. He demonstrated also in Aadi taala as is sung today by many.

Dr. Suresh cited similarities between Tiruppugazh verses and Tevaaram. According to him, Saint Arunagirinathar, who composed Tiruppugazh considered Thirugnanasambandhar as his Guru, but at times differed in style of the Thevaram bard in his own lyrics. He drew the attention of the audience to the names of the panns (raga structures) adopted in Thevaram that are followed even today and mentioned that the Vaishnavite’s Divya Prabandha has no indication of any such panns. The latter are simply recited and never sung. The chandas (prosodic) element in Tiruppugazh verses is profound and while the language of Thevaram hymns is chaste Tamil, the language in Tiruppugazh verses is considered manipravala since there are many Sanskrit words employed by Arunagirinathar. The phala shruti - benefits bestowed on the readers/listeners, type of conclusion is found in Tevaaram hymns and not in Tiruppugazh.

The lecture demonstration was generally received well. Vidwan B.M Sundaram and musician Vedavalli offered their comments.

Sri Mysore Subrahmanya assisted by Sri D.Balakrishna and Sri T.V. Ramprasad presented a lecture demonstration on compositions of Veena Seshanna.

Veena Seshanna was a colossus who reached the pinnacle of glory during the first half of the 20th century as the Asthana Vidwan of Mysore court. He was an innovative performer of the veena. Mysore Subramanya, great grandson of Sri Seshanna, presented the lecture demonstration with a lot of material, both biographical and musical. Seshanna, he said, composed 11 swarajatis, nine vamas,11 kirtanas and five Devamaamas apart from 17 scintillating tillanas. He employed very dtomplicated talas like Sankeema Triputa Taala and Khanda Mathya Taala, for his Svarajatis and Vamas. Among his tillanas, the one in raga Jenjuti is very popular. Many of his tillanas are in Misra Chaapu and in Chaturasra Triputa taalas with elevating eduppus.

His Kritis are in Telugu and Devamaamas in Kannada. The speaker presented a very clear demonstration and lecture about the multifaceted genius of Mysore Seshanna.

T.V Ramprasad sang some of his compositions and D. Balakrishna rendered some of the special compositions ideally suited for a Vainika presenting the intricate nuances of Veena Seshanna’s performing techniques.

Sangita Kalanidhi Sri T.K. Govinda Rao commended the presentation.

20th Decem ber 2003Sri Annamacharya Vamseekula Annamacharya Seva Mandali / Trust rendered

some soul stirring Annamacharya Samkeertanas.

In connection with Rukmini Devi Centenary, Prof. A. Janardhan & party presented a Lecture Demonstration on ‘Choreographic Specialities of Rukmini Devi’.

Rukmini Devi and Kalakshetra are synonymous. Prof. A Janardhanan, senior faculty member of the Kalakshetra, presented a demonstration with the help of 10 students highlighting the choreographic nuances of Rukmini Devi.

Rukmini Devi made optimum use of Bharatanatyam in drama by weaving the Kathakali element into the style. She took great care of every minute aspect of the stage, costume, curtains, colour schemes and utilization of the stage space. She produced 26 major productions. The lecture and demonstration revolved around these productions of which five different items were presented. Depending on the number of dancers on the stage, she used bilateral symmetry, trilateral symmetry, quadrilateral symmetry and at times asymmetry, Prof. Janardanan said. While adhering to the tradition, she did not confine herself to just one style of dance. Her choreography gave emphatic importance to each dancer on the stage, irrespective of the number of dancers.

Kalakshetra staff presented the nattuvangam and music, and ten students presented the dance bringing Rukmini Devi’s flavour in letter and spirit. In the evening the students of Kalakshetra presented a full-length dance drama to mark the centenary year of Rukmini Devi Arundale.

The second lecture demonstration in the morning was presented by Vidwan Adyar Lakshman & Party on ‘Rhythmic Dimensions in Dance Compositions’

Sri Adyar Lakshman, who receives the Sangita Kalacharya Award this year, presented a lecture demonstration highlighting his contribution to the field of Bharatanatyam. Though there are many dance teachers who are inclined to compose dance dramas, Adyar Lakshman proudly adheres to the solo tradition.


He has infused new rhythmic passages into existing compositions and employed difficult taalas, complicated jatis and comprehensive sancharis into Bharatanatyam, which have a significant stamp of his own. The highlight of the many items demonstrated during his lecture, was a Jatisvaram in Vasantha composed in two speeds.

A Mallari in Sankeema triputa taalam, followed by Aananda Natana Prakasam, in the same raga of Muthuswami Dikshitar, where charanams were interspersed with intricate jatis was presented. The Mallari here was also set to Kedaram, which otherwise is usually set to Gambhira Naata. He had chosen a Subburama Dikshitar’s vamam in Khamas to demonstrate sanchari bhaava in anupallavi. While the former was demonstrated by Roja Kannan, the latter was explained and performed by Jayanthi Subramaniam. He concluded the demonstration with a recorded tillana in raaga Mohanam, set to music by Sri Madurai M. Krishnan, thus covering all prominent components of a solo Bharatanatyam performance. This was performed with western instruments like xylophone, saxophone recorder etc by musicians from Vienna.

21st Decem ber 2003

Sunaadam group rendered some select compositions of Arunachalakavi.

Under Chellammal Palani Gounder Endowment, Smt. Shyamala Venkateswaran presented a Lecture Demonstration on ‘Compositions of Arunachalakavi’ (Seerkazhi Moovar). Tackling her subject, 'Compositions Of Sri Arunachala Kavi,’ Shyamala Venkateswaran began the lecture by comparing the Rama Nataka of Arunachala Kavi with the Laghunayasa in Krishna Yajur Veda. Most of the lecture revolved around the story of Rama and how it was either different or similar to Valmiki Ramayana.

While Vishnu descended on the earth as Rama, several other Gods took various other incarnations along with him. This was described in the composition Avataaram Cheydiduveer..., traditionally sung in Mohanam but presented in Jhonpuri.

It was followed by Arunachala Kavi’s description of Rama as the Ultimate, Parabrahman in 'parabrahma swaroopan Raman’ in Gowlipantu. Generally there are no exaggerations in the story of Rama written by others but Arunachala Kavi finds exaggeration in everything, in the Putrakaameshti of Dasaratha, in his queens conceiving after they consume the pudding, in Rama and Lakshmana accompanying Viswamitra to destroy the demons and even in Rama breaking the Siva’s bow. This was presented followed by a composition 'eppadi manam tunindado swamy’ in Huseni before Rama going to the forests.


The president of the morning conference T. V. Sankaranarayanan expressed his gratitude to Shyamala Venkateswaran for her illuminating lecture and melodious demonstration. She was accompanied by her students in the demonstration and Jaya Sekhar on the veena. R. Sathyanarayana of Mysore gave an impressive lecture on the relationship between meter and music, assisted by his son Nandakumar, who presented a few slokas and compositions. Dr. Sathyanarayana began his lecture with two verses, one in praise of Sangita equating Nada with Siva from the Sangita Ratnakara, and the other in praise of Chandas from Abhinava Gupta’s commentary on the Natya Sastra. He defined chandas, laya and sangita, and showed how they are interdependent. The very fact that all the treaties on music were written in metrical form is in itself a proof of the important place of Chandas in sangita, he added.

Then he emphasised how some prosodic elements and technical terms have been borrowed to describe the various components of talas. He stressed the importance of ganas and the effects of their usage in the beginning of a composition, as is the practice in literature. In the musical parlance, there are prabandhas, which derive their name from the meter in which they are composed. He stressed that singers should respect the yati, sandhi and splitting of samasa. The words in a composition can be split only in accordance with Chandas so that their music intelligibility enhances. Nandakumar demonstrated a sloka from Saundarya Lahari, a prabhanda, a krauncha pada and a composition of Tyagaraja and Muthuswami Dikshitar. This was followed by a lively discussion on different prosodic elements and their relation to music in which Dr. Ramanathan, Prof. Harold Powers and Dr. Srivatsa expressed their opinions.

22nd Decem ber 2003The day began with the rendering of Compositions of Koteeshwara Ayyar by

Brhaddhvani.

Sangita Kalacharya. Sri. S.Rajam presented a Lecture Demonstration on ‘Compositions of Koteeshwara Ayyar’ under Rukmini Nacchimuthu Gounder Endowment.

Sangita Kalacharya S. Rajam is considered to be the one who made Koteswara Ayyar’s compositions popular and propagated them. Koteswara Ayyar composed in all 72 Melakarta ragas and enriched the Tamil repertoire in Carnatic music. He scrupulously followed the lines of the Trinity and composed in Tamil. S. Rajam, with the help of four of his disciples, presented six compositions of Koteswara Ayyar and demonstrated how they are fit to be sung in concerts, and how neraval


and swaram can be incorporated in those. In most of his compositions, Koteswara Ayyar gave the raga mudra and his own mudra as “Kavi Kunjara dasa” because he was the disciple and grandson of Kavi Kunjara Bharati. Vidwan B. M. Sundaram later corrected the common misconception by stating that he was not Kavi Kunjara Bharati’s grandson. He was married to his granddaughter, and therefore probably can be called his grandson. Rajam emphasised that Vivadi ragas are not untouchable. Vivadi is a quality and not a demerit.

Sangita Kalacharya Prof. S.R. Janakiraman under Brinda Varadarajan Endowment presented a Lecture Demonstration on ‘Analysis of Sahitya in Compositions’.

Prof. S. R. Janakiraman, scholar, musicologist, and a musician, presented different forms of compositions sung in Carnatic music and demonstrated how they are easily identifiable with the sahitya, the lyrical content in them. He began his lecture demonstration with three compositions in praise of Annamacharya, Tyagaraja and Muthuswami Dikshitar respectively. He ably demonstrated the three dimensional nature, literary content, metrical structure and melodic dimensions of musical compositions. He quoted extensively from treatises in support of each of his statements. He repeatedly emphasised the important place of sahitya in musical compositions. He presented a lakshana gitam in Udaya Ravichandrika, a jatisvaram, a svarajati, a taana vama and emphasised in each of these, their structure, their text and the way they are to be sung. He said that the difference between a kriti and keertana is imaginary, and that it is neither substantially real nor really substantial.

23rd Decem ber 2003Compositions of Narayana Theertha were rendered by a group of singers under

the banner Subhodayam.

Veteran Musician Vedavalli presented an extensive lecture on Tiruchhanda Viruttam of Tirumazhisai Azhwar. She dwelt upon the biographic details and gave examples from the 120 verses composed by him. He is also known as Bhaktisaara who underwent stints in various religions before he was converted as Vaishnavite by Periyazhwar. Vedavalli highlighted some of the compositions of Tirumazhisai Azhwar and said that the author was fond of employing numbers in his compositions with intricate meanings and there are a number of verses to substantiate it. She talked about the second letter concordance in these compositions, the praasa element. Vedavalli said that these verses are set to tunes and are rendered in structured music. It was more of a lecture than a demonstration because Mrs. Vedavalli was giving anecdotes from the life of the Azhwar. Though briefly, some of the paasurams demonstrated in Bhairavi, Sindhu Bhairavi and Surati were very appealing. Vedavalli was assisted by V. Sumitra.


The Bodhaka Award which goes to an eminent teacher of music will be conferred upon Vidwan, Tiruvarur S. Latchappa Pillai this year. He will be the first Nagaswara Vidwan to receive this honour. His disciples presented a brief concert with compositions from the Trinity.

24th Decem ber 2003Karanaranjani a group of musicians rendered select compositions of Bhadrachala

Ramadas.

Prof. R.V.Krishnan, son of Venna Varadiah presented a Lecture Demonstration on ‘Compositions of Veena Varadiah’.

Veena Varadiah (1877-1952) was a great composer of Vamams, Lakshana Geetas using sahitya and kritis. His disciple and son, Prof. R. V. Krishnan, presented the lecture and demonstration with the help of Poomapragna Rao, Uttara Kumar and Shailaja. They demonstrated two vamams in Kanada and Aananda Bhairavi, and a Kriti in Kalyani. Noticeably, antharagaandhara was employed in Aananda Bhairavi.

Sangita Kalacharya and Vaggeyakara Thanjavur Sankara Iyer came specially to present a Lakshana Geetam in Maayamalava Gowla. There are evidences to show that there were composers who set sahitya to swaraavali before Varadiah. Thaaseepuram Venkatapati and Azhagiya Singaracharyulu were some of them. Veena Varadiah used a raga called Nootana Gowla, which was expected to be presented but was not. Dr. M. B Vedavalli offered comments and president of the year, T. V. Sankaranarayanan commended the efforts of Prof. Krishnan to present and popularise his father’s compositions. Nagaswara Vidwan, SemponnaarkovilS.R.D.Vaidyanathan, presented a Lecture Demonstration on “Rakti Melam’.

Unique to the nagaswaram tradition, Rakti Mela is almost a form of art that is slowly, but definitely receding into oblivion. A passage is taken in misra, trisra of chaturasra and rendered in all the three tempos in which we find a shift of the “eduppu” in each section. Vidwan Vaidyanathan played a Rakti Mela in Raga Kamboji which was crisp and heard with rapt attention. The septuagenarian, Sri Vaidyanathan, who is going to receive the prestigious TTK award this year, was complimented by Vidwan B. M. Sundaram for his excellent lecture demonstration and adherence to tradition.

25th Decem ber 2003Disciples of Sangita Kalanidhi Smt. R.Vedavalli rendered Ashtapadis of

Jayadeva under the banner Devaganavali Trust.

Sri. S.Gopakumar presented a Lecture Demonstration a percussion instrument created by him. Arumukhanam is a percussion instrument, created by


S. Gopa Kumar, fitted on an arc shaped steel frame. There are six faces of mridangam. The six faces represent low pitch, high pitch, madhyama, tara shadja, panchama and shadja. A disciple of Sangita Kalanidhi T. K. Murthy, Gopa Kumar has determination, enthusiasm, creativity and imagination in making this instrument. He demonstrated the basic fingering on the instrument and showed how it can be used in different situations. He demonstrated a Navaraagamalika Vamam, Kirtana, Kaavadi Chindu, Meera bhajan and a folk song. He concluded his demonstration with a soio. All the six faces are detachable. The only problem seems to be to keep the sruti all the time for all the six components of the instrument. However, it was an interesting experiment.

Gopa Kumar was complimented for his effort by the eminent mridanga Vidwan, Vellore Ramabhadran.

‘Art of Accompaniment’ was the topic of Lecture Demonstration for Vidwan Sri.T.V.Gopalakrishnan. Often termed as a multifaceted personality and a versatile genius, T. V. G. in his lecture emphasised the need for scrupulous adherence of principles and adaptability for an accompanying artist. A percussionist should have the basic knowledge of swara, laya, taala, saahitya, kalpana, creativity and concentration. He said that different techniques are to be followed for different kinds of compositions. To substantiate he played the records of Chembai Vaidyanatha Iyyer, accompanied by Palghat Mani Iyyer in Todi, recorded in 1930, and M.D Ramanathan in Kedaram. He demonstrated a recorded version of a neraval of Chembai with Palghat Mani Iyer and Madurai Mani Iyer, accompanied by Palani Subrahmanya Pillai.

While all these were recorded demonstrations, he was assisted by Palghat Ramprasad, Mani lyyer’s grandson, with a kriti, a vamam and a jaavali. In each case, TVG showed how delicately and balancingly the mridangam should accompany a vocalist.

26th Decem ber 2003

Smt. Kanthimathy Santhanam & Party rendered devotional compositions of Gopalakrishna Bharati.

In connection with Gottuvadyam Narayana Ayyangar Centenary, Chitraveena N.Narasimhan and Chitraveena N.Ravikiran presented a Lecture Demonstration on ‘Uniqueness of Gottuvadyam, Narayana Ayyangar’s Bani’.

Narayana Iyengar (1903-1959) was a pioneer and trendsetter in the field of gottuvadyam. Most of his recordings are not available. Some of his live concerts are with AIR Bangalore, Tiruchi and Madras. A handful of his 72rpm records recorded between 1928-1930 are available. These are only suggestive of his


greatness. Chitraveena Ravi Kumar, grandson of Narayana Iyengar, gave a lecture and demonstration about his contribution to the filed of Carnatic music in general and gottuvadyam in particular.

He played the record of Narayana Iyengar in Charumati. The alaapana, though constrained by time, encapsulated the beauty of the raga. Left handed technique, continuity, plucking style, speed and clarity are hallmarks of Narayana Iyengar’s style of playing the instrument, now known as Chitra Veena. He brought the instrument as close to vocal style as possible. In the movement of the slide, he showed a tremendous innovation. Because he lived at a time when there were no mikes, Narayana Iyengar had to resort to high pitch. In other stringed instruments, normally one string is plucked at a time. Narayana Iyengar used sympathetic strings below the instrument which is a major innovation. It worked like a built- in tambura with the instrument.

Narayana Iyengar standardised the string arrangement and influenced stalwarts of his times to either follow his technique on other instruments or take to Gottuvadyam. He experimented with different kinds of slides made out of different material and finally settled with slide made of bison horn. He was a court musician of Trivandrum and Mysore. Ravi Kiran, a child prodigy himself, made full justice to the articulated lecture and crisp and relevant demonstration.

Under Chellammal Natarajan Memorial Endowment, Sri. T.K.V. Ramanujacharyulu presented ‘Compositions of Sri. N.Ch. Krishnamacharyulu.’

In the post Ramadas period, there have been many vaggeyakaras, such as Ghanti Chandrashekara Shastri, Draksharama Venkateshwara Shastri and Swamulakotta (Samalkot) Bhayankarachari. Vaggeyakaras of relatively recent vintage include Ogirala Veeraraghava Shastri and possibly, Devulapalli Krishna Shastri. Shri Nallan Chakravarti Krishnamacharyulu is a living Vaggeyakara. Shri Krishnamacharyulu is a melange of music, musicology and compositional ability. His compositions are testimony of his mastery over Telugu and Sanskrit, as well as his skill to blend Maatu and Dhaatu. Some of his compositions have unique structures. For example a “Garbh Kriti”, set to Raga Shuddha Dhanyashi, is a composition set to Adi Tala with inbuilt passages in two or more talas. The catholicity of Shri Krishnamacharyulu can be visualized from the fact that he has dedicated his compositions to a pantheon of divinities, despite his being a Vaishnavite. Some of his compositions in various ragas were demonstrated.

27th Decem ber 2003Compositions of Ambjuam Krishna were rendered by Gita Nivedana Trust.

Prof. N. Ramanathan presented a lecture demonstration on ‘Tala Dasa Prana’


Tala is the time framework within which music, drumming and dancing are created, individually or collectively. And 'TsladaSaprSna’ refers to ten prana-s or ten vital aspects of tala. These are -

1. Kala 2. Marga 3. Kriya 4. Anga 5. Graha

6. Jati 7. Kala 8. Laya 9. Yati 10. Prastara

Although tala has been a part of almost all the musical systems of India except Samagana, the concept of taladasaprana itself seems to have arrived only in the 16th century and is seen described in texts like SangltasQryOdaya of Lak§mTnar3yana, SahgTtadarpana of DamOdara, RasakaumudT of SrTkantha, SarigTtaparijata of AhObala and SarigTtamakaranda of Narada. And, among the ten prana-s mentioned above, not all the ten names have existed from the early period. For instance, the term 'Kriya’ is seen to be used for the first time in AbhinavabharatT commentary on Natyasastra and is adopted by all later authors. And the usage of the terms 'anga’ and 'jati’ is seen only from the time of the texts that speak of 'taladasaprana’.

Although the ten terms are spoken of as the 'prana-s’ of tala, they differ with regard to their actual nature of describing an aspect of tala. For instance, kala, marga, kriya, anga, jati, laya and yati relate either to the actions or to the time interval between actions that manifest tala. The term kala is used in two different senses. Graha on the other hand does not pertain purely to tala but rather speaks of the connection between tala with music. Finally, prastara, is not describing any aspect of tala but rather speaks of the derivation of possible number tala-s from a prototype.

This paper is not going to take up the description of the ten prana-s from a historical perspective but would rather go into the meaning of these terms as they relate to contemporary music. For instance, the present day textbooks define 'marga’ very differently and the term is rarely used by musicians. And again one of the most important concept, namely, that of 'gati’ seems to be missing in the ten prana-s and the term 'gati’ as such seems to make an appearance only in the 19th or 20th century. The paper will also take up certain musicological problems that are met with in the present day system of tala, as for instance, in the use of terms ‘ak§ara’ and matra that would come under the prana ‘kala’ and the understanding of ‘laghu’ and 'druta’ under ‘anga’.

Dr. Pappu Venugopala Rao presented a lecture using multimedia presentation on ‘Music Chapters in Natya Sastra.’

The “Naatyashaastra”of Bharata is considered to be the oldest Lakshana- Grantha. Seven

-------------------------------- THE MUSIC ACADEMY MADRAS ----------------------------------THE MUSIC ACADEMY MADRAS

Chapters of the Naatyashaastra describe theoretical and practical aspects of vocal and instrumental music. Bharata deals with three aspects of music- “Svara” (the note),”Aatodya”(instrument) and “Gaana”(the song). Describing music, Bharata divides “Gandharva” into three categories pure music, instrumental music and vocal music. Terms like Svara, Shruti, Graama, Moorchana, Taana, Sthaana, Jaati, Dhaatu and Vritti are defined by Bharata. Bharata identifies eighteen Jaatis (melodies) and classifies seven under Shadja-graama and the remaining eleven under madhyama-graama. Instruments are classified as stringed, wind, solid and percussion instruments. Taala is dealt with, by Bharata, in a separate chapter. Songs are referred to as Padas and Dhruvaas and 64 types of songs were identified. Bharata has also dealt with voice culture. He has identified infirmities and defects of human voices. Defective voice should not be used in singing. One limitation of the Natyashastra is that Bharata has dealt only with musical aspects related to dance.

While amazing at the terminological clarity of Bharata, the ambit and concepts of some terms propounded by him have undergone radical change, in course of time. Nanyadeva’s commentary on Naatya-Shastra does indicate interpretative terminological divergence.

The lecture was presented under the Prof. V.Raghavan Shastiabdaipoorti Endowment.

28th Decem ber 2003Purandara Dasa Devaranamas were presented by Skanda Priya, a group of

singers.

The Ragalakshana session this year was dedicated to dealing with the following Ragas by the Vidwans mentioned against their names:

1. Raga Kamatak Bihag - Shri.V. Subramanian

2. Raga Dilipaka - Sangita Kalanidhi Smt. R. Vedavalli

3. Raga Yadukulakambhoji - Sangita Kalanidhi Shri. T.K. Govinda Rao

4. Raga Kalyana Vasanta - Sangita Kalacharya Smt. Sulochana Pattabhiraman

5. Raga Gowlipantu - Shri. B. Krishna Murthy

29th Decem ber 2003The morning sessions began with rendering of Papanasam Sivan’s compositions

by Smt. Kamala Santhanam & Party.

M.S. ANANTHARAMAN, octogenarian maestro presented a lecture demonstration on violin techniques. His father, Parur Sundaram Iyer, was a trendsetter and a pioneer in what is today known as the Parur Style of playing violin. Anantharaman spoke at length about his and his family’s association with stalwarts in the field of music. He said his father was instrumental in taking violin to the North Indian music. He demonstrated the Dwaram style of bowing and talked of Papa Venkatramiah’s style, Kumbakonam Rajamanickam’s style and Mysore Chaudiah’s style. He said, today there are only five styles of Dwaram, Parur, Chandrasekhar, T.N Krishnan and Lalgudi. None can go beyond these schools. He was assisted by his sons Sundareswaran and Krishnaswami. They demonstrated the effects of playing on one string in the typical Parur style. A brief taanam interlude in raga Shankarabharanam was rendered.

Anantharaman received the Sangita Kalacharya award from the Academy this year.

Sangeeta and Vedanta — this is a topic that is not new and has been emphasised by both composers and critiques, many times in many ways. Sangeeta is a means for salvation.

It is derived from Saama Veda and is considered an Upa Veda. Sangita Kalanidhi B. Rajam Iyer who gave a lecture demonstration on this subject, rendered a composition of Dikshitar on the attributes of Brahman in raga Poomapanchama. He quoted from one of the Navavama kritis of Dikshitar and demonstrated a cluster of Tyagaraja’s compositions in Sankarabharam and “Aanandeshwarena” of Dikshitar in Aananda Bhairavi. Rajam Iyer’s presentation is reflective of the views of a musician on Aadhyatma vidya and Nadopasana.

30th Decem ber 2003

The Sukhaganam Music Trust rendered compositions of Shyama Sastry.

Guruvayur Durai, a disciple of Palani Subramania Pillai, is more a man of action. His lecture and demonstration made full justice to every aspect of playing Mridangam. The tonal purity, the adherence to gumki technique, the placement and strokes with individual fingers and using the full palm were demonstrated with clarity and confidence. He highlighted the specialties in Pudukottai style and showed how an accompanist should play, following the vocalist and how both should mutually inspire each other. He rendered Konnakkol sollus for some special Moharas and had his disciples play them on the mridangam. His humour, his efficiency, simplicity, adherence to tradition and authenticity, all contributed richly to the lecture demonstration, where not even a fraction of a second is wasted.

---------------------------------- THE MUSIC ACADEMY MADRAS ______________________

Durai received the TTK award from the Music Academy this Year. The students of Sri Sarvaraya Harikatha Pathashala, Kapileshwaram, Andhra Pradesh, performed a dance drama entitled Dashaavataara in Sanskrit under Sri P.B. Sarvarayulu Garu Endowment.

31st Decem ber 2003Smt. Raja Ramachandran & Party presented Mutthuswamy Dikshitar’s

compositions.

Vidwan B. Krishna Murthy presented a highly inspiring lecture demonstration on some rare Tillanas. Nandini Ramani gave an introduction about the origin and evolution of Tillanas. She said Mellatur Veerabhadraiah was the first composer of Tillana. There are Tillanas which have sollu-katta and svara in the beginning and saahitya at the end. There are also some with saahitya in the beginning. She listed some major Tillana composers like Swati Tirunal, the Thanjavur Quartette, Maha Vaidyanatha Iyer, Patnam Subrahmanya Iyer, Kundrakkudi Krishna Iyer, Ramanathapuram Srinivasa Iyengar and others. Krishnamurthy demonstrated nine rare Tillanas.

V. Shriram, engineer-businessman, Music Historian and an articulate speaker with a passion for music, presented on multimedia some important locations in Chennai credited with musical heritage. He covered a period of about five decades, up to 1930. It was a commendable effort to document history and to preserve the glory of the past, for the future.

1st January 2004

Sadas2

Presided over by Saangitha Kalanidhi Dr. M. Balamurali Krishna.2 2 2 2

The last day of the morning session began with the students from the Teacher’s College of Music of the Music Academy presenting some rarely sung compositions of Saint Thyagaraja Swamy.

As was the practice, the conference and the morning lecture demonstration series ended on January 1, with a summing up session with the members of the Expert Committee on the dais and the President of the year T.V. Sankaranarayanan in the Chair.


• • 9 f iO O ^ ' *

Tala-DaSa-Prana and the Musicological problems in present day Tala system.

N. Ram anthan

Tala is the time framework within which music, drumming and dancing are created, individually or collectively. And ‘TaladaSaprana’ refers to ten prana-s or ten vital aspects of tala. These are -

1. Kala 2. Marga 3. Kriya 4. Anga 5. Graha

6. Jati 7. Kala 8. Laya 9. Yati 10. Prastara

Although tala has been a part of almost all the musical systems of India except Samagana, the concept of taladaSaprana itself seems to have arrived only in the 16th century and is seen described in texts like SangTtasOryOdaya of Lak§mTnarayajia (l,48cd-160), SarigTtadarpana of DamOdara (631-717), RasakaumudT of SrTkantha (4,94-138), SangTtaparijata of AhObala (2,3,5-95)) and SarigTtamakaranda of Narada (2,3,51-100). And, among the ten prana-s mentioned above, not all the ten names have existed from the early period. For instance, the term ‘Kriya’ is seen to be used for the first time in the AbhinavabharatT commentary on NatyaSastra (AB on NS vol.4. p. 151,1.3) and is adopted by all later authors. And the usage of the terms ‘anga’ and ‘jati’ is seen only from the time of the texts that speak of ‘taladaSaprana’. Finally one of the most important concepts of today, namely, that of ‘gati’ seems to be conspicuously absent in the ten prana-s and the term ‘gati’ as such seems to make an appearance only in the 19th or 20th century.

This paper is not going to take up the description of the ten prana-s from a historical perspective but would rather go into the meaning of these terms as they relate to contemporary music. However a brief note on the ten terms would be useful before some of the important issues can be taken up. And even before that we need to be clear about what aspect of music that we are exactly dealing with.

What is Tala? Tala is time. How is it time? Or else what is time?

Time is a very difficult concept to define in a positive way. A musician and as a non-physicist I would perhaps look at time as not a positive /concrete entity but as a negative /abstract one. For instance, when we look at the term called ‘interval’ in the context of sound, we find that it is defined only as the absence of sound. In a vibrating object between two different frequencies absence of sound is referred to as interval. Thus ‘interval’ is defined as the absence of sound, which is a negative way of saying it. While ‘sound’ is perceived through the sense of hearing or through ear, interval would refer to a sound not heard.

------------------------------- THE MUSIC ACADEMY MADRAS ----------------------------------

Again when we look at the term ‘space’ we find that it is understood or defined in terms of the absence of an object. It is not a concrete entity. While an ‘object’ is perceived through the sense of sight and touch, space would denote the absence of the object.

On the same lines, time is not an entity that we perceive through our sense organs. It is known through the absence of an event or action. The term for action is ‘Kriya’ and the term for time is ‘Kala’. Kriya itself is defined by Bhartrhari thus - “Whenever something, finished or unfinished is presented as something to be accomplished, it is called ‘action’, because of its having assumed the form of sequence”. (Subramania Iyer, 1974:1) The element of non-action or rest helps link two successive actions or events arid creates the illusion of time. The intervening period of rest connects the two actions by calling them first, second and so on.

The reason why the nature of time had to be gone into is that, tala too is an embodiment of time and is created through actions separated by absence of action or non-action. In tala we create or simulate time through actions of hands, which today include beating of the palm, throwing the hand with the palm facing upwards and moving the fingers of the hand. These actions interspersed with rests that contribute to link the actions, collectively form a time span. And in reality it is the period of non-action or the interval between actions, that is time and that becomes the basis of time measurement. A common example from our daily life is the notion of the time unit ‘second’, which is known as the period of non-action or interval between the ‘ding’ and the ‘dong’ in a pendulum clock or between the successive appearances of the ‘colon’ sign, two black dots of Liquid Crystal Display (LCD) in a digital watch. Coming to music, in an Aditala, there are eight actions, namely, a Tattu, movements of little finger, ring finger, middle finger, again a tattu, a vlccu, a tattu and finally a vTccu. Normally we find that after the end of the last action, that is the vTccu, the tala is concluded by a tattu again. The eight actions are separated by intervals or periods of non-action. There would be eight intervals or eight small time spans of the extension of the eight kriya-s. It is the interval between the two kriya-s, that forms the fundamental unit of time measurement and which is referred to variously as ak$ara, ak$ara-kala or matra.

In the case of music, however, we come across two kinds of events that express the existence of time. One is time expressed by the actions of hands and the other is by the musical structure or the melodic line itself. For instance, in a varnam, we come across melodic stresses of svara-s interspersed with rests, also referred to as pulses, which create time. In a kTrtana, the rests and svara-s do not reveal a perceptible periodicity or rhythm, except when we are singing the madhyamakala- sahityam passage. In tavil and mrdarigam too the syllables interspersed with rests express time as do the stamping of feet on the ground or the movement of hands,


eyes and other limbs in dance. This is why tala is said to be the basis of all these three arts, Music (gTta), Drumming (vadya) and dancing (nrtta) -- gTtam vadyam tatha nrttam yatastale prati$thitam. (SR 5,2cd)

Coming back to the ten prana-s of tala, we find that most of these terms are related to one or the other of the two basic aspects of time, namely, action (kriya) and rest (visranti). For instance, kriya denotes the aspect of action. Kala, marga, anga, jati, laya and yati relate to the interval between actions that manifest tala. The term kala is used in two different senses one denoting ‘action’ and the other ‘interval’. Graha on the other hand does not pertain purely to tala but rather speaks of the connection between tala and music. Finally, prastara, is not describing any aspect of tala but speaks of the derivation of possible number tala-s from a prototype. Let us take them up one by one.

1. KalaKala is literally time. And we have seen that ‘kala’ is time created through

actions of hands. But as an element of tala-dasa-prana, kala deals with standardising the time units used in music, sometimes with reference to the time used in day- to-day life. For instance, Bharata standardises the time units like laghu, druta and pluta used in his time with reference to the spoken syllables. He conceives of a hypothetical reference time-unit called matra, which he equates with the time taken for uttering five short syllables (panca-hrasvak§ara-s) (NS 31,4). As is evident, time taken to utter five short syllables is not a very precise measure and this is a rather approximation based standardisation. However the de$T tradition did bring in the time-units of daily life without using the hypothetical matra unit. It starts with k$ana as the smallest time unit and goes on to higher ones like, lava, ka§tha, nime§a, kala, truti and then to anudruta, druta, laghu, guru etc. (SDar 638-641)

This consciousness of having to standardise tala units is by and large missing in today’s music and musicology. For instance, when a song is prescribed to be rendered in oru-kajai aditala or in miSracapu tala, there is no mention regarding the kalapramana or tempo in which it is to be rendered. That aspect is expected to be preserved in oral tradition. A.M.Chinnaswamy Mudaliyar (1893:37) did take a step in this direction and indicated the Metronome number for the quarter note or crochet. Hence at least with reference to the songs he notated, we have an idea of the kalapramana in which the song must have been rendered by him. Rangaramanuja Ayyangar in his book ‘Carnatic Music Pallavi Tradition’, when presenting each pallavi, gives the total duration of an avarta of the tala in terms of seconds (AyyangarRR 1970:1). Thus Oru-kajai Aditala is said to have a total duration of eight seconds for one avarta. Some of the Long Playing records releases of Karnataka music from the West do indicate the Metronome numbers against the song.


Now in the last five years or so the Talometre of the Radel system has also incorporated the digital display of the number of ‘ticks’ per minute in the rendering of a tala. The Madras University in its audio lesson material for the Correspondence Course has started indicating this kalapramana of the tala. For instance the orukajaki aditala would normally have 60 to 70 kriya-s in one minute or approximately one kriya per second. In other words each kriya in any of the 35 tala-s will have a duration of approximately one second in its normal madhyamakalam state. The rendu-kajai will have 30 to 40 and nalu-ka|ai 20 or so. Misracapu is conceived of as Tisra-triputa tala rendered at a tempo of 120 to 140 with the 2, 3, 5 and 7th kriya-s muted.

The need to standardise the kalapramana of the tala will be realised when we observe that the kTrtana “SrT dumdurge” in SrTranjanT by Muttusvami DTk$itar has been rendered by the Violinists Sri Ganesh and Sri Kumaresh in Khandacapu tala, by Smt. Prema Rangarajan in Oru-kajai Khanda-eka talam, while in the tradition of Kallidaikuricci Sri Mahadeva Bhagavatar, it is rendered in Repdu-kalai Khanda- eka talam. Of course it is true that if the tala is rendered fast it still does not mean that the song too is being rendered fast and vice-versa. In this case however the song too was fast when rendered in Khandacapu and in oru-kajai khapda-eka tala.

Some issues relating to kala will be taken up in the later part of this paper.

2. M argaMarga is really an extension of the previous prana ‘kala’ as understood in

the system of Bharata (NS.31,6-7) and Dattila (Datt 116-117). Marga, literally meaning ‘the way or path’, characterises the different ways of rendering a tala on basis of the elongating durations of the time units. For instance, when the duration of laghu is one matra or that of guru is two matra-s, the marga is said to be ‘citra’. But in the next marga, that is, vrtti or vartika marga the duration becomes doubled, in other words, laghu would be of two matra-s and guru of four matra-s.

The original notion of marga is totally absent today. Sambamurti (1963:170- 171) writes, “This element relates to the rhythmical construction of musical composition and helps a person to reckon the tala accurately. It is independent of the tempo of a composition. It also helps in the writing of pieces in correct notation. What constitutes the unit number of svaras for a talakshara is made clear by the Marga of the piece.” This is certainly not the sense in which the term was used either in the tradition of Bharata or of Matanga. This concept as outlined by Sambamurti is not far removed from the one of ‘Gati’ or ‘Nadai’ and although the concept as used by Sambamurti is a very useful one, we rarely find


any book on notation in recent times mentioning the marga of a composition or a music teacher using this term. Further the same concept appears to have been projected under the term ‘Kajai’ in books like ‘SangTtanubhava-sara-sangraham’ (AyyangarP 1913:6), where the author uses the terms ‘kal-kajai cavukkam’, ‘arai- kalai cavukkam’ and ‘oru-kajai cavukkam’ etc. to denote the 2, 4 and 8 svara-s respectively occurring in one kriya.of the tala (198-253).

3. KriydAs mentioned in the commencement of this paper, the term ‘Kriya’ is not

employed in the Gandharva tradition by Bharata or Dattila. Even Matanga does not appear to have used this term in his BrhaddeST. Abhinavagupta, the commentator on NatyaSastra seems to be the first scholar to use this term. The earlier term used by Dattila was ‘Kala’ (Datt. 113cd-l 14;). Bharata (NS 31,1) uses the term ‘pata’ to denote ‘sasabda-kriya’ and ‘kala’ to denote ‘nihSabda-kriya’ and does not appear to use a common term to convey the sense of kriya. However in NS 31,5ab the term kala may have been used in the general sense of an ‘action’. Kriya as already referred to earlier, denotes action of hands and is the most important aspect of tala since it is kriya that primarily manifests tala. And today there are three kinds of kriya, Tattu (beat), VTccu (wave of the hand) and the movement of different fingers called ‘viral epnikkai’.

4. A hgaAgain as mentioned earlier, the term anga is not seen in earlier works and

makes its appearance only from the time of the texts that describe the tala-dasa- prana (SSur 1,49). ‘Anga’ literally would mean ‘limb’. And here it would have the notion of being a limb of tala. Tala is a span of time and ahga would be that time span which would be a portion of the bigger span, a time unit within a tala. Textbooks list ‘laghu’, ‘druta’ and ‘anudruta’ as ariga-s figuring in present day music.

The term ‘laghu’ and other terms like ‘guru’ and ‘pluta’ occur from very early times. Once again in the ancient works like NatyaSastra and Dattilam, the term ‘kala’ itself was used to denote these time units (Datt 124cd-125ab). ‘Laghu’ was a span of time that was equal to one matra, ‘guru’ of two matra-s and pluta of three. However all the three units were manifested by the action of only one kriya each, only the duration of the kriya differing. In spite of the centuries that have gone past, the term ‘laghu’ still survives but has an enlarged time-span of four units. And by laghu we refer to the catura£ra-jati laghu, which is the default laghu. Moreover now the four-unit laghu requires four kriya-s to manifest it, although among them three are un-sounded kriya-s. In fact we must remember that when manifesting any of the anga-s through kriya-s, whether it be laghu, drutam


or apudrutam, the first kriya is a tattu and this is followed by as many nih§abda kriya-s as are required to complete the duration value of a tala.

Conceptually we have a lot of problems. First of all when ahga is understood as a limb of a tala, then all the five kinds of laghu, namely, Tryacera, Caturaoera, Khanda, MiSra and SankTrpa should be shown as ahga-s. This, most of the textbooks do not do so. Secondly, as pointed out above laghu should not be understood in the sense in which it was used in the system of Bharata. Laghu is meaningful only if its duration is half of that of guru. And this would be valid only for catura£ra-jati laghu. Again talking of five kinds of laghu itself is a very amusing kind of situation. It is like talking of five kinds of ‘inch’ or five kinds of ‘centimetre’. And when it comes to a basis and a unit of measurement one cannot accept variability in a measure. Even assuming that like a teaspoonful of sugar, laghu is not a very precise measure, still one cannot speak of a variety of laghu, namely, sahkTrpa-jati which is bigger than a guru, a case of the teaspoon being bigger than a tablespoon. Terminologically, our theory at present, is in a disorganised state. We are confronted with five kinds of ‘laghu’ but each one is technically an ahga and hence it would be wrong to treat them as five varieties of ‘laghu’. As for instance, Kharujajati laghu is very much an ahga of Atatala. Hence the textbooks should at least take note of the five laghu-s as five ahga-s when describing ‘Ahga’.

One other area which has still not been seriously attended to is the set of tala-s which lie outside the set of 35, namely, MiSracapu, Khandacapu, Short-rOpaka and DeSadi tala-s. The sections of time units in these tala-s have not been described in terms of ahga-s. In an earlier article (Ramanathan 1997:37-44) it has been pointed out by this author that there must be a rethinking on the definition of ahga and of tala-s like miSracapu and khaodacapu. In that article it had been suggested that these two tala-s should be looked at as having the structures pluta + guru + guru (§ S S) and guru + pluta (S S) respectively.

5. GrahaGraha literally means ‘to catch or to grasp’. The term Graha as well as its

Tamiz equivalent ‘eduppu’ are in use. Similar to kriya, this term also does not seem to have been used in the gandharva system of Bharata. The term in use then was ‘Pani’ (NS 31, 373; Datt. 152cd). Today ‘graha’ denotes merely the simultaneity or, the absence of simultaneity in the time of commencement of music and tala. When the tala and music start simultaneously then the graha is called ‘sama’ otherwise depending on which starts first the graha is designated as ‘anagata’ or ‘atTta’. Today anagata-graha is that when the tala starts first and the song joins in later. Some issues regarding ‘graha’ will be taken up in the later part of this paper.



6. J&tiJati, again, is a term that makes its appearance from the time of the texts

that describe the tala-dasa-prSria. Today ‘Jati’ points to the variability in the time unit Laghu and five kinds of laghu are spoken - catura§ra, tryaSra, khanda, misra and sankTma (SSur 1,148-155) These varieties refer to the number of matra-s in a laghu. And each matra requires one kriya each for manifesting it. Thus caturacera- jati laghu is manifested by one ghata followed by three fingers, namely, little, ring and middle fingers being moved, making it a total of four kriya-s to manifest the four time units. Thus laghu becomes a time span or section made up of 4, 3, 5, 7 or 9 units.

Laghu is a problematic concept if one looks at the primary denotation of the term. Laghu by definition is a relative unit being half the value of guru and double of drutam. And if one speaks of five types of laghu then obviously one should have five kinds of guru-s and five kinds of drutam. This is not the case today. We shall go into this at a later stage.

7. R a idTwo different concepts are represented by this term as we gather from the

descriptions in the different tala-daSa-prana texts. Most of the works like SangTta- darpana (702-706) and SahgTtaparijata (2,3,46-50), list a set of kriya-s, namely, Dhruvaka, SarpinT, Kr$ya, Padmini, Visarjita, Vik$ipta, Pataka and Patita. Other works like SangTta-sOryOdaya (1,107-131) and Ragatalacintamani (5,87-88) take up the description of the Ekakala (orukajai), Dvikala (rendu-ka|ai) and Catu?kala (nalu-kalai) varieties of tala. Books written in the earlier part of 20th century, namely, SangTta-sampradaya-pradarsini of Subbarama DTk$itar (SSP;SLS p.40) and SangTta-svara-prastara-s3garamu of Nadamuni Pandita (p.575) speak of only the varieties of Ekakala etc., under the prana ‘Kala’, which is what Sambamurti (1963:176) and other textbook writers have also done. It is however important to note here that Subbarama Dlk$itar mentions the prana as ‘Kala’ or ‘Kala’ and not as ‘Kaja’. Sambamurti too mentions it as ‘Kala’ while Nadamuni Panditar retains ‘Ka|a’. Grammatically however if the prana were to refer to ‘Ekakala’, ‘Dvikala’ and ‘Catuskala’ then it should be mentioned as ‘Kala’ and not as ‘Kala’.

The set of kriya-s Dhruvaka etc. are heard of only in the DsST system. They came as additional kriya-s for sustaining the extension of the duration of laghu, guru etc. when marga of a tala changed from Citra to Vrtti and then to Dak$ina. These are not relevant today. They are not mentioned in the Gandharva system of Bharata and Dattila. Regarding Ekakala, Dvikala and Catu$kala forms of tala some issues will be discussed at a later part of this paper.


8. Laya

Laya is again a very important term and relates to the most basic aspect of tala, namely, to the interval between two successive kriya-s. It is also defined as the duration of a kriya. Actually Laya itself is tala (AB on NS vol.-4 p.285,1.20). It is tala in the sense that, what we refer to as time unit, namely, the period of non-action between two actions is nothing but laya.

Under the prana laya, three kinds of intervals are observed. If the laya in between the kriya-s in a tala is a medium interval then the tala is said to be having madhyama-laya. If the interval is long it is vilamba-laya and if it is very short then it is druta-laya.

The term laya has been in use from the time of the Gandharva system. The understanding of laya is perhaps the only thing that has not changed in history. However in the Karnataka tradition the term laya is not used that commonly as is the other term, ‘kala-pramana’. The term ‘laya’ is more popular in the Hindustani system. Kalapramana is a term that occurs in Natyasastra (31,6cd) too and is synonymous with ‘laya’ and would literally refer to the ‘pramapa’ or dimension of the ‘kala’, kala referring to the interval between two successive kriya-s.

9. Yati

This term refers to the manner of change of laya. This term has been in use from the time of Gandharva system. The change of laya can be seen to occur in two ways, one within a tala and the other between two renderings of a tala.

a) The duration of different anga-s differ. For instance, the duration of guru is greater than that of laghu (as a single unit) and of laghu greater than that of druta (as a single unit). So if a tala has the structure “Guru-Laghu-Druta” then the laya is gradually decreasing. In other words, the duration between successive kriya-s is decreasing (although the change in terms of speed is increasing). When the laya is uniformly the same then it is referred to as sama yati. If the laya is decreasing then it is srOtOgata-yati according to ancient texts (and gOpuccha according to modem works). The opposite of this is gOpuccha yati. Some of the medieval texts have indicated the form of yati visible in the structures of various desT tala-s. (RJM p.160)

Modem textbooks merely repeat what the medieval writers wrote. From contemporary music they have not cited examples. For instance, in misracapu tala there are three kriya-s. The first kriya is longer in duration than the succeeding two. This would be a case of srOtOgata yati or Vi$ama yati.

b) The other understanding of yati is as follows. When a tala is being rendered in a particular laya and at a later point of time it is rendered in a relatively druta laya then the yati is srOtOgatS. (See Ramanathan 1997:123)

Today this can be observed when in Pallavi, a feature called ‘pratilOma’ is done. It is a case of yati too. Modem textbooks do not appear to be aware of this aspect of yati.

While works upto Sangltaratnakara speak of three kinds of Yati - Sama, SrOtOgata and Gopuccha, later works add varieties like Mrdanga, Pamaru / PipTlika and Vi §ama.

Some issues regarding Yati will be taken up later.

10. PrastdraPrastara literally means ‘extension’. Although occurring in the Natyasastra

in the context of Chanda (NS 14,46-116) and not in the context of tala, tala prastara has figured in all the musical traditions. In tala it deals with breaking of a time units like druta, laghu, guru etc. into smaller time units and thus deriving maximum possible number of tala patterns having that time value. In the present context with the sense of laghu etc. having vanished, and the tala system having moved away from DesT to SQladi, this praria seems to be unnecessary.

Now we take up some of the terms that require deeper study in the modem context.

KdlaUnder that topic of Kala we iterated the need to standardise the duration of

the fundamental time unit. In addition we also have to identify and define the fundamental time unit of tala. Today two terms are in use, namely, ‘Ak$ara’ and ‘Matra’. The term ‘Matra in the Gandharva system (Datt. 117cd & SR 5,16cd- 17ab) was more a hypothetical time unit used as a reference for standardising the time units, laghu, guru and pluta which actually played a role in structuring a tala. The tala system of Gandharva had two methods for calculating the time value of a tala. If ,the tala was made up of different kinds of units like laghu, gum and pluta, which was normally the case in the Ekakala form of a tala, as for instance, Caccatpufa (S S 1 S), the value was not computed in terms of numbers but merely in terms of the time units, namely as guru-guru-laghu-pluta (NS 31,10). In the other forms of a tala, as for instance, Dvikala and Catu$kala, the time units were all uniformly guru-s and hence the value was computed in terms of the total number of guru-s and referred to as ‘so many’ kala-s. For instance, the dvikala form of Caccatputa consisted of eight guru-s (SS SS SS SS), was referred to as having a duration of 8 kala-s.


In the DesT system, where the most fundamental unit used for standardising the tala units is ‘k$ana’, there is no mention of matra or aksara. Most of the medieval works merely describe and present the structure of the De$T tala-s and do not mention the total duration value. However a few texts and the texts from Tamiz tradition, for instance, Talacamuttiram (p.38) and Caccaputavenba (p.2), present the structure in terms of matra value, a matra being equal to the duration of laghu.

In the medieval period, with the arrival of the concept of Jati, the five laghu- s were distinguished in terms of the number of varna / ak$ara or syllables that were sung in one matra. Thus catura§ra-jati laghu was said to be of the value of 4 ak$ara-s and khanda-jati laghu of the value of 5 ak$ara-s. But as we moved from the SQladi period to the modem, the laghu increased its dimension and each ak$ara of a laghu became a time unit by itself. Now within each ak$ara we are singing 1, 2, 3, 4, 5 etc. number of syllables. Now the pulses within each ak$ara is being referred to as matra. Hence the tables are now reversed. With ak$ara having been a sub-division of a matra, now we have reached a position where matra is a sub-division of akara. There is, of course, nothing wrong in using terms in these senses.

However we find some inconsistencies in the use of such terms. For instances Rangaramanuja Ayyangar (1970:1) describes Oru-kajai aditala as having a value of 32 ak$ara-s. Obviously the term ak$ara is being used as the inner sub-division of a tala unit. So the question is, which term is proper and suitable. To get into this question we have to understand the two concepts, namely, the tala time unit and the sub-division or pulse or inner stresses.

Tala-s in vogue today are of two kinds, those that have kriya-s of equal or uniform duration and those having kriya-s of non-uniform duration. For instance, all the tala-s in the 35 tala system and the Short-ROpaka and the DeSadi tala-s have uniform interval between two successive kriya-s. The duration or interval between two successive kriya-s is the basic or fundamental time unit. What name do we assign to it? We may call it one ak$ara or one matra. But the term ak$ara is more suited for describing a syllable of a text rather than for an abstract time unit. Hence matra seems a better term suited to refer to a tala unit.

Ak§ara on the other hand is used in two senses. In a general sense it would refer to a syllable or a letter. Thus, for instance, in the word ‘rama’, there are two ak$ara-s or syllables, ‘ra’ and ‘ma’. But between these two syllables the first one being a long syllable, would be said to be of ‘two-matra’ duration while the second one would be said to be of ‘one-matra’ duration. Even grammar uses the term matra to denote the duration of a letter. However to avoid confusion the term ‘one-ak$ara’ may be used to refer to the duration of a short syllable and ‘two-


ak$ara’ to the duration of a long syllable. But language or poetry has only syllables while music has tala as well as melodic stresses/ words. So to avoid confusion the duration of tala kriya may be defined in terms of matra while the duration of the syllables in dhatu / matu (sahitya) or may be defined in terms of ak$ara.

Thus aditala would be said to have a total duration of 8 matra-s in one avarta. And if the flow of music is such that there are four syllables sung in one matra then the total number of ak$ara-s would be 32 in one avarta.

Now this time unit ‘matra’ would be applicable only when the tala is of the kind in which all the kriya-s are of uniform duration. For instance, in the case of a tala like MiSracapu where the three kriya-s are not of uniform duration the fundamental measure cannot be ‘matra. For instance, in misracapu the three kriya-s have a proportional duration value in the order VA : 1 : 1 or 3:2:2. It is this proportional value that is being, in an informal way, totalled to 7 by musicians and the tala is said to have a value of 7 matra-s. Such an attribution is technically wrong. This aspect has been dealt with in another paper. (Ramanathan 1997: 37-44)

ja tiThe concept of Jati speaks of five varieties of Laghu and not of other units like

druta or guru. This is a very uncomfortable development since laghu is a relative or proportional unit linked to guru and druta.

If we go into history we find that at one stage there was a change in laghu and then guru and druta too relatively changed. (K on SR 5, 261-262ab, pp. 176- 177). According to Kallinatha normal laghu is the one, which has five ak§ara-s or syllables in it, and there was another laghu in which four short syllables were sung and correspondingly two short syllables were sung in drutam and eight short syllables in guru. Singing five short syllables in one laghu is actually a premise based on Bharata’s definition of the temporal magnitude of laghu. Bharata used the ‘five short syllable’ yardstick only for standardising the time duration of laghu, guru etc. In actual art music of Bharata, four short syllables were sung in one guru-unit of tala and two short syllables in one laghu-unit of tala. But in the D5§T system things must have changed and laghu must have become a larger time unit and must have started accommodating four short syllables of matu.

Now singing 4 short syllables in laghu, 8 in guru and 2 in druta or singing 6 in laghu, 12 in guru and 3 in druta and so on is related to the aspect of ‘Gati’ or ‘Nadai’ of today. Thus the variation in laghu being referred to by Kallinatha is actually dealing with the aspect of gati. And by the time of the tala-dasa-prapa texts the variation got restricted to laghu alone. It is not clear how this came to happen.


Perhaps the system had moved away from the De$T tala to SQladi. In the SQladi, the only laghu and units of lower values figured. There was no guru or pluta. And the varieties of laghu that the tala-daSa-prana texts are talking about, appears to indicate not enlargement of the time duration of laghu into 4, 3, 5, 7 and 9 matra-s but singing of respective number of syllables within the same duration. This again is akin to the gati of today. Thus in each jati variety, 4, 3, 5, 7 and 9 vama-s were respectively sung. For instance, in caturacera-laghu four varna-s were sung.

And when the change occurred from the SQladi system to the Pallavi / KTrtana tradition then the laghu must have undergone further enlargement in its magnitude. And the caturasrajati laghu must have enlarged or magnified to an extent where each sub-division became a time unit by itself because of which the catura$ra-jati laghu came to require four kriya-s to manifest it. Thus the laghu could be said to have changed from one-matra laghu to a four-matra laghu. However with regard to the physical mode of manifesting the four-matra time unit, this transformation from one-matra laghu to four-matra laghu did not introduce additional sasabda-kriya-s but only nitisabda-kriya-s. Thus for manifesting the caturasra-laghu we have one tattu and movement of three fingers starting with the little one. Similarly the five- matra laghu is manifested by one taftu and the movement of four fingers.

Thus it is inferred that the Jati concept in the tala-da$a-praria texts must have denoted a kind of gati feature restricted to laghu alone. This must have accounted for the absence of the term gati among the tala pr3na-s. And since the concept of Jati itself underwent change the need for a new term became necessary and from the 19th century onwards the term Gati / Nadai has come into use. I am not very certain when exactly this term came into use.

One interesting point about Jati is that today it is prefixed to a tala as much as it is prefixed to the laghu. Thus caturasra-jati Dhruva tala means that variety of Dhruva tala in which the laghu is of the variety of catura$ra-jati. Thus the prefix denotes actually the jati of the laghu rather than that of a tala. Technically ‘Jati’ is that of the laghu and not of the tala. But in the music texts from Kerala tradition, in the context of tala, the term jati refers to the class to which the total time value of a tala belongs. Thus a tala of the total matra value of 16 will belong to catura£ra-jati; 12 to trya$ra-jati; 9, 18 etc. to khanda-jati; 7, 14 etc. to Mi§ra; 5, 10, 15, etc. to sarikTrua-jati. (STL, pp. 94-96, SV & TV). This usage appears more logical.

RaidEkakala, Dvikala and Catuskala forms of tala present a very interesting case

in history. They were very much part of the tala system of Bharata and Dattila’s


Gandharva. (NS 31,26; Datt. 125-135) But they seem to have disappeared in the DeST system and surfaced again in the last 200 years or so. The three kala forms were applied to a single tala as they are being done now. In the Gandharva system, Ekakala was the basic form while dvikala was of double the duration. In dvikala form extra kriya-s were introduced, which were only nib$abda-s. The catuskala was again double the duration of dvikala and more nihSabda kriya-s were introduced.

The modem forms of Oru-kalai, Repdu-kajai and Nalu-kajai are not very different from the earlier ones. And these three forms are today applied only to the 35 tala-s and not to others, at least only to those tala-s in which all the kriya-s are of uniform duration. However we come across differences in the interpretation and execution of this aspect of tala.

Mariikka Mudaliyar (1902:134) understands the term kala in the sense of ‘gati’. Perufigujam Srinivasa Ayyangar, in his book SangTtanubhava-sara-sangraham speaks of the three forms Ekakala, Dvikala and Catu§kala and in addition refers to Arai-kajai caukkam and Kal-kajai caukkam as pointed out above under the prana ‘marga’. Subbarama DTk$itar (3,40) and Nadamuni Papdita (p.575) explain Ekakala as the form in which the kriya is of one ak$ara duration, Dvikala form being that in which the kriya is of two ak$ara duration and the duration being four ak$ara-s in catu$kala. However the terms one ak$ara, two ak$ara-s etc. seem to have been used for denoting the dimension of the extension of the duration of the kriya rather than to denote the kriya being sub-divided into two kriya-s of one-ak$ara each as is being done today by some musicians.

As stated in the earlier sentence, today we see some musicians using two kriya-s, namely by rendering the first kriya twice, to express the two ak$ara-s of Rendu-kajai. Other musicians do not render two kriya-s but sustain one kriya itself for an extended duration. If introduction of extra kriya-s is considered wrong then the KalS-praria becomes similar to the Marga-prana of ancient period. And this understanding of kala could be applicable to tala-s like Misracapu and Kharidacapu too which is not being done at present.

If the introduction of additional kriya-s for sustaining the extra ak$ara-s is acceptable then the picture would be fairly similar to what was existing in the tala of the Gandharva system. And if these forms are applied to MiSracapu and Khandacapu then the Rendu-ka|ai and Nalu-ka]ai varieties will be Tryasra-triputa and TryaSra-rOpaka tala-s respectively as has been discussed by this author elsewhere (Ramanathan 1997:37-44).

One other issue is the popular reference to 8 kajai, 16 kajai, 32 kajai and even 64 kajai forms of tala and their having been used in Pallavi singing. Although this

-------------------------------- THE MUSIC ACADEMY MADRAS --------------------------------- THE MUSIC ACADEMY MADRAS

might be a difficult and challenging proposition from the tala point of view, if the pallavi theme has too many words then neraval would be easy and elementary in nature. If only a pallavi like ‘parimalarafigapate! mam pahi’ or any other pallavi with not more than 15 to 16 syllables in its text is taken as the theme even in the 32 kalai, instead of a pallavi like ‘hare rama gOvinda murare ! mukunda Saure murahara’ having 28 syllables, singing neraval in a melodious manner would be a difficult proposition. Thus mere extension of the kajai of a tala one to two, four, eight, sixteen, thirty-two etc. does not make music very complex and challenging, durations in music too should get extended.

YatiLaya and Yati are two concepts that are observed in the tala line as well as

in the melodic line. For instance, if laya is the interval between two successive kriya-s of a tala then the interval between two successive syllables of the sahitya too is laya. While the former may be called tala-laya, the latter may be called pada-laya or matu-laya. And so the change of laya within the sahitya syllables could also be called ‘yati’.

For instance, if the text of a song has the following words ‘karadhrtavTpa’, the first four letters are hrasva or short and the last two dlrgha or long. There is change from drutalaya to madhyalaya which is gOpuccha yati.

Again when there is a change in the sahitya of a song from samakalam to madhyamakalam as we notice in the change in the following sahitya passage in the song ‘vatapiganpatim bhaje’ham’, there is presence of ‘yati’.

u 1 2 3

p a ra d i ca tv a

p ra n a va sv a ro

ni ra n ta ram ni thi

ni j a v a m a k a ra vi

O V O V

ri v a ga tm a k a

pa va k ra tu n d am

la ca n d ra k h a n d am

d h r te ksu d a n d am

k ara .m b u j a p a .$a bT. ja . pQ. ram k a lu sav i do . ram . b h o . ta . ka

h a ra .di g u ru g u h a to. $ita b i. m b a m h am sa. d h v a n i bhQ. $ita he. ram .

ram .

bam .

{777}

We notice in the above arrangement of sahitya syllables that, as compared tothe text of the samakalam, namely, “paradi catvSri ..... ik$udandam” the durationbetween or laya of syllables in “karambuja .... herambam” is less. Thus there is a decrease of laya from samakalam to madhyamakalam which would be srOtOgata- yati.

Modem textbooks cite the example of ‘tyagaraja yOgavaibhavam’, namely,

tyagaraja yOgavaibhavam agaraja yOgavaibhavam

raja yOgavaibhavam yOgavaibhavam

vaibhavam bhavam

vam

for a kind of yati. In the above there is really no change of matu-laya or yati involved. There is only a decrease in the size of the successive phrases. This could be at best be called ‘gOpuccha’ or ‘srOtOgata’ “alankara” but definitely not ‘yati’. At least the term yati cannot be used based on the definition applicable to the prana of the tala.

G rahaGraha, although denoting, at a very basic level, the shift of the commencement

of the song, either prior to the commencement of the tala or after it, appears assume larger dimension. Its impact does not appear to cease after the song and tala have commenced,

For instance, we observe that an3gata-graha (or even atTta) is primarily of two kinds, one where the song joins in after one or more complete matra-s of the tala have elapsed and the other where the song commences after a fraction of a matra. In the first type, the song starts along with a particular kriya and not in the middle of a kriya or matra. For instance, most of the atatala varnam-s start two matra-s late and the song ‘endarO mahanubhavulu’ in Snragam starts one full matra later. In this kind of songs the anagata graha has practically no significance. For instance, if one were to start singing the ‘viribhOnT” variiam from the first matra of the Atatala one would not feel any difference or discomfort. The same would be the case if one were to start singing ‘endarO mahanubhavulu’ from the first matra of Aditala. And we also see that the shift of graha is consistently maintained in each of the pallavi, anupallavi and caranam refrain except in the svara /sahityam passages which have a sama-graha and this is true of both Atatala vamams and the song in StTraga.

-------------- ------------------- THE MUSIC ACADEMY MADRAS ----------------------------------

In the case of some kTrtana-s the presence of an3gata-graha seems to be merely incidental and occurs in just one of the sections, pallavi, anupallavi or caranam. For instance in the song “dharmasamvardhani” of Muttusvami DTk$itar in MadhyamavatT raga, the pallavi starts in samagraha but the anupallavi starts after a delay of one matra. (SubbaramaD 1904:650)

___________________ THE MUSIC ACADEMY MADRAS---------------------------------

o u O up a llav i

d h a rm a sam va rd h a nT

d a nu ja sam m a rd a nT

d h a ra d h a ra tm a je a je

d a y a ya m am pa hi pa hi

a n u p a lla v i

ni rm a la h r d a ya ni va si ni

ni tya na nd a vi la si ni

ka rm a jn a na vi d h a yi ni

ka nksi ta rth a p ra d a y« ni

T h e a n 3 g a ta - g r a h a o f th e a n u p a l l a v i h o w e v e r d o e s n o t h a v e a n y o th e r

significance in the building up of the over all structure of the composition and anagata graha does not recur in caranam. The purpose of anagata seems to be more for melodic reasons.

However in the case of another klrtana of Muttusvami DTk$itar ‘Ak§ayalingavibhO’ we do notice an an3gata-graha of one full matra which is consistently maintained, mainly in eveiy alternate avarta. (DTk$itarS 1904 : 889 - 890)I? 1 2 3 4 5 1 h 1 2 3 4 5 1

p a llav i

a k sa ya li n g a .vi

bhO sv a y am bhO

a khi la n d a ko ti p ra

bhO p a hi sam bhO

a n u p a lla v i

a k sa ra sva ru pa

a m i ta p ra ta pa

a rO d h a v r $a va ha

ha ja ga mO ha

The rest of the anupallavi is a madhyamakala-sahityam passage which gets into sama-graham. We generally see that irrespective of the composer, most of the songs that do not have a sama-graha get to sama-graha when they reach the

{777}


madhyamakala-sShitya stage. Coming back to this song we find that consistently every line (not every avarta), has an anSgata-graha of one matra. This continues even in caranam section. This is a kind of plan that we see underlying some songs of Muttusvami DTk$itar. The kTrtana, ‘SiT matrbhotam’, except for the opening line falls into this plan. This plan which is visible mainly in kTrtana-s in mi§ra-jati ekatalam, is also seen to be present in kTrtana-s of Tyagaraja set in Misra-capu talam, as for instance, ‘pakkala nilabadi’ in Kharaharapriya raga (cf. AyyaAgarKVS. 1927 : 176 - 180) and ‘manasu svadhTnamaina’ in the raga Safikarabharana (cf. AyyangarRR 1965 : 294 - 297). Only the structure of the pallavi and anupallavi are being given below although the structure is maintained in the carariam too.h 1 2 3 4 5 1 •7 1 2 3 4 5p a llav i

pa k k a la ni la ba dig o li ce •di m u c c a taba g a d e Ipa ra

daa n u p a lla v i

cu k k a la ra y a nig e ru mO .m u g a lasu d a ti ST ta m m a sau

m i tri SrT ra m u nT kiru

b 1 2 3 4 5 1 I7 1 2 3 4 5p a llav i

m a n a su sv a dhT nam ai n a y a g h a nu ni ki

m a ri m a n tra ta n tra m u lela

a n u p a lla v i

ta nu vu ta nu gad a ni e ficu v a ni ki

ta pa su se y a n ed a £a ra tha . ba la

Although it might be possible to sing all these songs in sama-graha yet that would upset a bigger organisational strategy which the composers appear to have in mind, the discussion of which would be out of scope of this paper. Thus anagata-graha which denotes a shift by a full matra/s does not appear to play a very critical role in the temporal organisation of a song. We may not be able to say the same for songs that start fraction of a matra later.

Now let us turn to the other kind of anagata-graha where the song starts fraction of a matra later. This is seen many of the songs of Tyagaraja, as for instance the songs in DeSadi and Madhyadi tala now rendered in aditala. If we sing the song ‘teliyaleru rama’ in sama-graha we encounter a lot of discomfort.


l4 2

a n a g a ta -g ra h a

3 4 0 V 0 V

, , te li

m u . . n a

s a m a -g ra h a

ya le ru r a . . m a . bha kti m a rga

te li y a le ru ra . m a bha kti m a rg a m u . na

Most of the kTrtana-s that were originally set in DeSadi tala and that are now being sung in Adi tala with +1 Vi (anagata)-eduppu, have by and large a standard arrangement for the distribution of the syllables of the text over the tala avarta.. There would be a syllable invariably on the 2nd half of the 2nd matra , 4th matra, 6th matra and the 8th matra and again there would be one syllable on the 1st half of 3rd matra, 5th matra, 7th matra and the 1st matra.

KTrtana-s that were originally sung in madhyadi tala and later set in vilambakah aditala with + xh or anagata eduppu also have a very similar arrangement of syllables of the text distributed over the tala avarta.

The purpose in pointing this out is that the impact of graha does not stop with the commencement alone. It is seen to be affecting the whole avarta. In fact, graha seems to have been only an extension and enlargement of what is called ‘usi’ a feature in fast speed that is very commonly met with in Bharatanatyam and Harikathakalak$epam.

The progression of a melody is very smooth when graha is ‘sama’. When it is sung with graha shifted by half then singing has to be a bit guarded. But when the beat of a tala has sub-divisions of four ak$ara-s then the graha, which is a shift of !4 or 34 makes singing very tense. For instance, in the elementary laya exercise of making a student sing the four syllables ta-ka-di-mi in Ekatalam with graha shifting by quarter of a matra in each successive avarta a student would usually find the !4 and 34 very tough to sing.

uta k a di m i

1

ta k a di m i

2

ta ka di m i

3

ta ka ta ki

ta ta ka di m i ta k a di mi ta ka di m i ta ka ta

ki ta ta ka di mi ta ka di mi ta ka di mi ta k a

ta ki ta ta ka di m i ta ka di m i ta ka di m i ta

ka ta ki ta ta k a di m i

G H }


Rendering the second and fourth rounds are generally felt by students to be difficult. And the extension of this is seen in the Pallavi too when we examine the traditional nalu-ka]ai pallavi-s which are sung with 3A anagata graha.

The text of these pallavi-s1. pan malarangapate ! mam pahi2. mamadurai mTnak$T ! amba devT3. ganalolakarurialavala4. mandahasavadana ! hare krspa5. devasenapate ! dayanidhe6. daSarathe ! karupapayOnidhe7. nelata marulukontini vani pai

'4 11. pa ri ma2. ms ma3. gs na4. ma nda5. de va6. da sa7. ne la ta

0I. te2. ksT3. na4. na5. te6. na7. ni

2 3la ra nga padu rai mrlo la kaha sa vase na para the ka

ma ru lu ko

O V

mam

a mba

a la

ha re

da ya

pa y5

va ni

2 31. hi2. VI3. la4. sna5. dhe6. dhe

na

ruda

ru

nti

pa

de

va

krni

ni

pai

------------------------------ THE MUSIC ACADEMY MADRAS ----------- ----------------------

We find in the above table that most of the traditional pallavi-s had similar format where with the 3A eduppu, the syllables mostly fell on the 14 position or the 3A position. At the point of arudi of course, a syllable coincided with the matra commencement. Thus the advanced standard of a pallavi was always associated with one that had the 3A eduppu. And we notice that the impact of the graha is visible through out the avarta.

If we take a normal xh idam anagata-eduppu pallavi the impact of this eduppu does seem to be effective in the rest of the avarta. e.g.,

U 1ha re ra ma

2go vi

3nda

O V 0 Vre mu ku nda sau re

l4ha ra

1 2 3

However there is really no feeling of a tension of the Yi anagata-graha felt in the music in the rest of the avarta, as is felt in the eduppu of 3A. In a half-idam pallavi the graha alternates between emphasis on Vi and samam. The progression appears elementary. This is perhaps the reason that most of the pallavi-s of earlier days, which had anagata-graha, preferred a 34-eduppu since an off-beat movement was felt in the entire avarta and not in the commencing portion alone. Of course when rendered in a tala in nalu-kalai, a 34-eduppu pallavi will not have the tension one associates with ‘usi’ but the overall graha displacement will be slow and grand.

Thus the concept of graha has a wider sense than merely denoting the noncoincidence of the commencement of tala and the song. The wider sense does seem to have been prevalent in the system of Gandharva of Bharata as we gather from the commentary of Abhinavagupta. (Ramanathan 1999:123-129)

GatiGati as stated above is not one of the terms included in the tala-da§a-prana-s.

It means ‘movement’ or ‘gait’ and similar to graha it is a term that relates music or melodic line to the tala movement. Thus if the number of svara-s sung in a time-unit of tala is 1, 2, 4 or 8 then the gait is said to be of catura$ra-gati. If the number of svara-s sung in a unit of tala is 3, 6, 12 etc. then it is tryaSra-gati. Similarly we have MiSra, Khanda and SankTrna gati-s which are self-explanatory. Thus there are five gati-s.

Although the term ‘gati’ only denotes the number of svara-s being rendered in one time unit and may vary without the execution of the tala varying, writers from 19th century onwards have expressed that variation of gati in the same tala gives rise to different tala-s. For instance, Aditala, when a song is being rendered in tiyaoera-gati is said to be of one kind and when it is used for another song in khanda-gati it is said to be another. Thus the thirty-five tala-s have been expanded to 175 tala-s on the basis of gati-bheda. This is an erroneous notion and wrong development. Change of gati does not bring about any change in a tala. For example if an aditala is being rendered by a Tala-metre then the singer can go on singing svara-s and also change the gati from 2 to 3, to 4, 5, 6, 7, 8 and so on, and the tala expressed in the tala-meter will go on unchanged.

G ati and N adaiFinally we come to the old issue of ‘gati’ and ‘nadai’. They are taken as

synonymous words. Some scholars interpret ‘nadai’ as denoting the different grouping of syllables or svaram-s without changing the gati. Thus ta-ka-di-mi would be caturaoera-nadai, ta-ka-ta-ki-fa would be khanda-nadai and so on. Thus in the second avarta of the Aditala varnam in MOhana ragam we have the following structure.

I4 2 3 4 0 V 0 Vg p g g r s - r g r r s d - s r g r - gpg- p dp- ds d, p- g d p g r

In the 32 ak$ara-s in one avarta, we have groupings of 6, 6, 4, 3, 3, 5, 5 svaram-s exhibiting different nadai-s. This would be the other interpretation of the term ‘nadai’ as different from ‘gati’.

One possible reason for the evolving of this meaning of nadai as different from ‘gati’ is the absence of any other term for denoting this concept. The term ‘jati’ has been used for denoting this concept, as for instance, when it is said, ‘khauda- jati collu’ for a grouping of five and ‘mi§ra-jati collu’ for a grouping of seven. Perungujam SrTnivasa Ayyangar has used both these terms ‘nadai’ and ‘jati’ for denoting groupings of 4, 3, 7 etc. (1913:18-94).

Thus this paper has tried to stress that the ten prana-s are not as important in terms of their names but in terms of the concepts they stand for today. Relationship between some of the terms like Anga and Jati has to be gone into with greater seriousness. When talking in the context of present day music it would be wise to discard some of the earlier terms, laghu, guru etc. or use them in a meaningful way. Like the 72-mela system, the 35 tala prastara too has been accepted by the music world unquestioningly and this has created many problems musically and musicologically. Presence of terms like laghu and druta in the 35 tala system has


prevented us from giving a more serious definition to the non-35 tala-s. And when we realise that none of these four tala-s that are in use today, namely, adi, ropaka-capu, miSracapu and khandacapu has been a part of the original sQladi tala-s, the need for a designing a new tala system appears to be an urgent need. But then this need perhaps is more musicological than musical.

ReferencesPrim ary w orks

BfhaddesT of Matangamuni

;d. Prem Lata Sharma assisted by Anil Behari Beohar, talamula Sastra Series, Indira Gandhi National Centre -or The Arts and Motilal Banarsidass, New Delhi.Vol.I Kalamulasastra Series no.8 1992 Vol.II Kalamulasastra Series no. 10, 1994

BrD

Caccaputvenba of Varagunarfiman

ed. S.Dandapani DeSikar, pub: Dharmapura Adinam Dharmapuram, 1951.

CV

Dattilam of Dattilamunied. K Sambasiva Sastri, Sri Setu Prasadamala Series XIV, Tiruvanantapuram, 1930.

Datt

NstyaSastra of Bharatamuni

with commentary of AbhinavabhSratT by AbhinavaguptficSrya,vol.ll (ch.s8-18) ed. M Ramakrishna Kavi, 1934. vol.IV (Ch.s28-37) ed. M Ramakrishna Kavi and J S Pade,1964.Oriental Institute, Baroda.

NS/AB

RagatalacintSmani of POlQri GOvindakavi

ed. T.V. Subba Rao, Government of Oriental Manuscripts Library, Madras 1952.

RTC

RasakaumudT of SrTkantha

ed. A N Jani, Oriental Institute, Baroda, 1963 RKau

Rasi kajana- manOl 1 asi ni -sara-sangrahabharata-

Sastra

pub. B.Venkataramayya, CTA Press, Mysore, 1908. RJM

SangTtadarpana of DamOdara Pandita.

ed. by K Vasudeva Sastri, pub. in Tanjore Sarasvati Mahal Library series, Tanjavur, 1952.

SDar

SangTtamakaranda of Narada

ed. M.R.Telang, Gaekwad Oriental Series - XVI, Baroda, 1920.

SMak


SangTtaparijata of Ahobala

Sangrtaratnakara of Samgadeva

SangltasOryOdaya of LaksminSrayana

Talacamuttiram of unknown authorship

pub. by R S Gondhalekara, Pune. 1898.SPar

with the commentaries Kalanidhi of Kallinatha and Safigrtasudhakara of SimhabhOpala, vol.IH-ed. Pandita Subrahmanya Sastri revised by S Sarada, 1986 pub. by SR Adyar Library and Research Centre, Madras.

ed. KamtaprasadaTripathi, Indira Kala SangTta Visvavidyalaya, Khairagarh, 1986 SSur

ed. K.Vasudeva SastrT, Tanjore Saraswathi Mahal, Tanjor 1964. TCam

Other w orks

Ayyangar,K.V.SrTnivSsa SrTTySgaraja Hfdayam vol.2, M.Adi & Com. Chennai-1, (1927)

Ayyangar, Perungulam Srinivasa

South Indian Musical Guide or Sangltanubhava-sSra-sangraham, Pt.l (1915) Pt. 2 (1913), The Sri Gana Vidya Press, Perungulam.

Ayyangar,Rangaramanuja

Carnatic Music Pallavi Tradition, author pub., Sait Colony, Egmore, Chennai,1970.

Ayyangar,Rangaramanuja

SrT Kfti Mani MSlai, author pub., Sait Colony, Egmore, Chennai, 1965.

Diksitar, SubbarSma SahgTta-sampradaya-pradarSinTof SubbarSma Diksitar, Pt. 1 & 2, Vidya Vilasini Press, Ettayapuram, 1904

Mudaliyar, Manikka Sahgltacandrikai, Chandrika Printers, Madras, 1902

Mudaliyar, A M Chinnaswami

Oriental Music in European Notation, author pub., Ave Maria Press, Pudupet, Madras, 1893.


Pandita,, NadamuniSangTta-svaraprasatara-sagaramu, Author pub., Chennapuri Daurd Printing Press, 1914.

Ramanathan N Musical Forms in SangTtaratn3kara, Sampradaya, Chennai, 1999.

Ramanathan, NEssays On Tala And Laya, Percussive Arts Centre, Bangalore. 1997

Sambamurti, PSouth Indian Music, Book III (1964), Book IV (1963 ), by Indian Music Publishing House, Madras

Subramania Iyer, K.AThe Vakyapadlya of Bhartrhari, Chapter III, pt.ii, English Translation with Exegetical Notes, Motilal Banarsidass, Delhi, 1974

M anuscripts

SarigTtavidhika! of unknown authorship

Paper Mss. no T 1085, Oriental Research Institute and Manuscripts Library, Kariavattom, Thiruvananthapuram.

SV

SvaratSladilaksanam of unknown authorship

Paper Mss. no 2023, Oriental Research Institute and Manuscripts Library, Kariavattom, Thi ru vananthapuram.

STL

Talavidhanam of unknown authorship

Paper Mss. no 8959, Oriental Research Institute and Manuscripts Library, Kariavattom, Thiruvananthapuram.

TV

1 Presented as a paper on 27-12-2003, at the 77th Annua! Conference of the Music Academy. Madras, held at the Music Academy, Chennai from 19-12-2003 to 01-01-2004.

Natya Sastra - M usic Chaptersby Pappu Venugopala Rao

This is Prof. Raghavan’s endowment lecture and I am proud to deliver it fourth time in the last 20 years. My own Sanskrit Prof. Sri P. Sri Rama Murthy at Andhra University was his student, that way Dr. Raghavan is my Guror Guruh., my teacher’s teacher. Secondly there is an abundant lot of work that Dr. Raghavan himself did on the Sanskrit Drama and the Bharata’s Natya sastra, that way this is a topic that was very close to his heart.

Natya Sastra is probably one of the earliest and certainly one of the best treatises on Indian dramaturgy. Most people think that it deals only with dance but, Natya Sastra deals not only with dance it deals also with prosody, poetics, music and such other aspects which are interdependent and allied to each other. It contains 36/37 chapters and 6000 verses and often known as Shatsahasri. There are 7 chapters dealing with Music beginning with the 28th. The date of Bharata has been a matter not yet conclusively proved. It varies from 4th century BC to 4th century AD, but scholars like Manmohan Gosh and Kane fixed Bharata’s time as between 1st Century BC to 2nd Century AD. Therefore Natya Sastra is at least 2000 years old. The eminence of Natya Sastra lies not in the fact that it was the first book on the subject but that it was the comprehensive treatise. Therefore, the study of this treatise is essential for scholars as well as amateurs. What is interesting, however, is that the original text of the famous treatise, the earliest was not completely available until just about 100 years ago. And it took almost another 50 years for the whole text to be made available for further use.

Bharata says he took words from Rig Veda, music from Sama Veda, movements and makeup from Yajur Veda and emotional acting from Aatharvana Veda.

There are eleven topics covered by Bharata in the Natya Sastra. They are:

1. Rasa2. Bhaava or emotion3. Abhinaya or histrionic expression4. Dharmi or school of acting5. Vritti or mode of expression6. Pravritti or regional identity7. Siddhi or success of production8. Svara or musical note9. Aatoodya or instrument10. Gaana or song and11. Ranga or Theatre


{ H D

As we can see, out of these eleven aspects, three 8,9 and 10 deal with music.

These three components are discussed in 7 chapters from the 28 to the 34.

The 28th chapter deals with the seven notes, Sruti-s, graama, muurchana and jaati. He classified musical instruments into four categories. He deals with the stringed instruments in the 29th chapter, wind instruments in 30th chapter, the solid instruments, like the cymbals in the 31st chapter and percussion instruments in the 34th chapter. Bharata discusses the characteristics of instrumentalists, vocalists and voice culture, defective voices and defects in voices in 33rd chapter. He deals with song in the 32nd and 33rd chapter. That is the distribution of the contents in the seven chapters that deal with music in Natya Sastra.

Now let us go into the details.

In all most all ancient treatises on music or dance or drama they invariably included a few chapters on one another. Even in Sangeeta Ratnakara we have a chapter dealing with dance. This is because they considered music as a comprehensive form of art, which embraces vocal music, instrumental music and dance as we see from this statement from the Sangeeta Ratnakara. We find similar statements in many other works as well.

Bharata deals with different kinds of songs in the 32nd chapter. A literary composition with meaningful words conforming to the principles of music, svara and taala, is called a pada or a song called Gaandharva by Bharata.. Pada is again classified into two, nibaddha - metered and anibaddha - irregular or unmetered. Similarly there may be padas, which can be performed to a taala and do not conform to a taala - sataala and ataala respectively. Then he goes on to define dhruvaa gaanam. Dhruvaa gaanam is invariably metered and that which conforms to taala - metrical and rhythmical. The unmetered and unrhythmic padas have no place in melodic songs; they can be played on instrumental music.

He divides Gandharva music into three categories, swaraatmaka, taalaatmaka and padaatmaka. He lists 12 aspects of the Swaraatmaka Gandharva, pure music dealing with swara.

The 12 aspects are:Swaraascha srutayo graamo - murchanaah taana samyutaahStaanam saadhharane chaiva- jaatayo ashta dasaiva chaVamnah chatvaara yevasyuh- alamkaaraascha dhaatavah.... vrittayah api

Bharata then gives the names of the seven notes, sapta swaraas.

According to their relations to sruthis (intervals between the notes) they are then divided into four types- vaadi, samvaadi, vivaadi and anuvaadi and describes them under the Shadja grama and Madhyama grama.

---------------------------------- THE MUSIC ACADEMY MADRAS ------------------:---------------


Granias are groups o f scales, shadja grama, madhyama grama,Bharata did not mention the third gandhaara grama.Bharat a amazingly enough gives the number o f Sruthis as 22.

He knows that one day they would be singable. We don’t get the names of the 22 sruthis from him but he gives us the 22 sruthis in each grama. They are derived by an experiment that Bharata did with 2 vinas exactly identical in all respects including the timbre of their notes. While one of them is tuned and kept as the constant vina, unchanged known as Dhruva vina, the other was subjected to progressive reduction in pitch successively. This second vina is known as variable vina or chala vina. Those who are interested to know more about this may read Prof. Samba Murthy’s Book V pages 47-54.

In ancient music, the 22 srutis were distributed over all the sapta svaras. But later on, when sa and pa came to be regarded as avikruta svaras, changeless and not admitting of varieties, sa and pa took one sruti each and the remaining 20 srutis were distributed among the five notes. The 22 svaras are based on just intonation and they are not of equal temperament. The interval between one note and the other is not equal. They can be demonstrated not successively but selectively. (Book IV - South Indian Music - Samba Murthy)

Bharata then describes 7 murchanas in each, shadja grama 7 and madhyama grama7. Murchana is described as gradual aaroha and avaroha of the 7 notes. The word is derived from murch to increase or to pervade.

Bharata’s first murchana in each grama starts with the highest note and ends with the lowest. This is so because it was the Vedic tradition to do so.

Matanga in Brihaddesi gives murchanas with 12 notes in addition to those with 7 notes.

Taanaas or patterns of notes are 84 in number, 49 of 6 swaras and 35 of 5 swaras. Then the most important aspect that Bharata treats is Jati, which is known later as raga as Matanga says in his Brihaddesi.

Tathha cha aaha bharatamunih jaati sambhutatvaat grama raagaanaam iti.Nanya deva in the Bharata bhashya also expresses the same sentiment.Jaatibhyo raga sambhava it muni vachanaat

Bharata deals with 18 jaatis, 7 from shadja grama and 11 from madhyama grama. The former are suddha and are known by the swara names. These have all the seven notes and when one or more notes are dropped they are known as vikrita. Barata of the 18 given by Bharata 4 are sapta swara jaatis, 10 are pancha swara jaatis and the remaining 4 are six swara jaatis.

He enlists 10 characteristics for the jaatis.


Matanga in fact takes credit for defining the raga system. The first ever inscriptional evidene on ragas was found in the Kudimiyamalai Pallava inscription of 7 century AD where 7 grama ragas were mentioned, kaisika madhyama, kaisika, saadava, madhyama grama, shadja grama, panchama and saadhaarita.

Bharata has one complete chapter on Talas. The 31st chapter deals with taalas. Taala or the time measurement is based on the basic unit of kaala. The exact time the kaala takes is defined as - five nimeshas make one m aatra and two or more maatra when they combine become kaala. Nimesha is the time taken to close the eyelids. This does not correspond with the western concept of second. Secondly, there should be an interval of five nimeshas between kaalas. Bharata describes basically two types of taalas, cancatputa and caapaputa. Cancatputa is catuarasra taala and caapaputa is tryasra taala. There is also a misra taala or derived time measure which includes the qualities of both the time measures, cancatputa taala and caapaputa taala. Besides the above three taalas, there are two more derived taalas.

The Cancatputa or chaturasra taala is divided into yathaaksara, dvikaala and catushkaala. Each of these is twice as long as the preceding one i.e., yathaakshara is four kaalas, dvikaala is eight kaalas and catuskaala is sixteen kaalas.

There are six types in tryasra taala. These are of three, six, twelve, twenty four, forty eight and ninety six kaalas. He says one who does not know taala is unfit to either sing or play an instrument.

Yastu taalam na jaanaati

Na sa gaataa na vaadakahThe 28th chapter, the first in the music chapters, begins with the classification of

instruments. All instruments, anywhere in the world, invariably come under one of these classifications.

Tata is stringed instrument under which he basically deals with viiNaa and the techniques of playing viiNaa. viiNaa is played with three different techniques, tattva, anugata and oogha. He also talks of nine stringed viiNaa and seven stringed viiNaa. The nine stringed viiNaa is called vipancii and is played with a plectrum and the seven stringed viiNaa is called citraviiNa and is played with the nails of the fingers. The technique of viiNaa play is described in 75 verses in the Natya Sastra. The Yazh was an ancient instrument of Dravidian origin and there are different varieties of them. There were many Tamil classics on music after Natya Sastra particularly the Silappadikaaram. Yazh is mentioned in this work in the Chapter, Arangetru Gathai.

Under Susira or wind instruments, are dealt with primarily taking flute as example. Flute is usually made out of bamboo, not necessarily and is called vamSii. Depending on the number of quartertones or Sruti-s, the notes of this instrument are

{HU

--------------------------------- THE MUSIC ACADEMY MADRAS ----------------------------------

of three varieties, dvika - two, trika - three and catushka - four, which are known as ardhamukta - half open, kampamaana - pulsating and vyaktamukta or fully open.

Under the Ghana (solid) instruments, he gives the example of cymbal, made usually in bronze, an instrument used for taala or time measure.

Avanaddha or percussion instruments are dealt with next. He says they are infinite in number. They are usually hollow instruments with the body open on one side or both the sides, covered with animal membrane that have uniform thickness. These are also called Pushkara Instruments. Swati the sage who made these instruments initially was inspired by the sound of rain drops on a lotus leaf and created these instruments, mridanga, panava, dardura and others. Bharata gives in detail, the rules governing play of pushkara instruments and the use of hand in making the strokes on the percussion instruments, and exclusively deals with the minute details of play of these instruments in Chapter 33.

Bharata deals with the mythological origin of musical instruments and he concludes this chapter on musical instruments with a note and a caution. There is no musical instrument that is not capable of being used in any form of dance drama. Depending on the rasa and bhava portrayed the dominance or otherwise of an instrument is decided.

Vamas are of four kinds: Aarohi, Avarohi, Sthaayi and Sancari. Basically vama and alankara are related to instrumental music. Alankaras embellishments depend on vama-s. 34 alankaras have been mentioned by Bharata and are said to be used in seven categories of songs like madraka, sapta giita vidhi

Dhruvas are derived from various meters which he describes separately in chapter 14. He talks about gurus, laghus, ganaas, different types of metrical compositions etc. There is an extensive description of vrttas or meters employed in different kinds of dhruvaas, which almost runs to 200 verses in chapter 32. It is followed by distribution of ganaas and maatras. Bharata deals with the occasion and rasas in which the type of dhruvaa should be employed in about 12 verses. He classifies dhruvaas into five based on their purpose in a dance drama. I need to emphasize here that Bharata’s chapters on music are mostly confined to their usefulness with respect to dance drama. He deals with those components pertinent to dance to the extent that is necessary and does not extensively deal with them.

Bharata devotes the entire chapter 32 for dhruvaa gaana. One veiy important aspect that he emphasizes is that when dhruvaa gaanaas are composed or sung, we should keep in mind the nature of the theme, play and character, the rasa and bhava, the time and place, the occasion, the age and state of mind of the character etc. To a certain extent this applies even to the field of music. As is natural with most other topics discussed in alankara sastras and lakshana grandhas,

he divides dhruvaa gaanaas also as uttama - superior, madhyama - of middle merit and adhama - inferior.

A dhruva sung at the entry time of a character is called Praveshiki Dhruvaa, sung at the time of exit of the character is called Naishkraamikee Dhruvaa. A Dhruvaa employed in pure dance (Nrtta), when such dance steps are interrupted, is called Aakshepi Dhruvaa. A song employed in diverting the attention of the audience from the main rasa of the dance into appreciating another rasa of the moment is called Praasaadiki Dhruvaa. Antaraa Dhruvaa is where the character is surcharged with emotion in situations such of swoon, grief, faint, extreme anger, intoxication etc.

He also emphasizes the kind of laya or rhythmic pattern to be employed in different situations or different rasas. For example, he says Madhya laya - medium tempo should be employed when pacifying another and making a request and recollecting something at the first meeting with the beloved etc. Similarly, he says there should be accelerated tempo dhruta laya when the song depicts excitement, anger etc. Bharata also describes the possible content and the kind of language that should be used in a song based on the kind of characters.

Apart from these varieties, he talks about the language, the meter, the theme, the subject of the song, the procedure of the performance and then the qualities of the singer and the instrumentalist. He gives the qualities of a Guru, of Sishya. He says, normally, women are more suited for singing and men for recitation.

There are many characteristics listed by him, required for a singer and for even instrumentalists. He concludes this chapter with the vocal defects in singers.

They are:

1. Kapil a - gruffness or phlegm in the throat. Voice is unnatural2. Avyavastitha - voice is more or less stable. It does not raise high, does not

go low.3. Sandashta - the singer tightens his teeth and sings.4. Kaakee - is the voice of a crow where the singer is unable to raise and if

makes an effort to raise it becomes unpleasant to hear.5. Tumbaki - nasal

I have made a humble effort to present, within the constraints of time, what Bharata said in Natya Sastra about music. This is not exhaustive. It is only representative. I conclude this lecture demonstration with the words of Bharata - those who observe, in music and dance the qualities and components discussed by Bharata in Natya Sastra, enjoy music and dance well in this life, will attain bliss, the state of Brahma and that of the Rishis.


• t 9 • • •

Indian Music and ChandasR. Sathyanarayana

- THE MUSIC ACADEMY MADRAS -

Introduction

Any system may endure in time only by renewing its vital energy and resources continuously and by existing in harmony with its environment i.e. by a process of continuous adaptation. This is true of Indian music also. Throughout its existence, it has renewed its strengths, as well as inner and outer resources and has evolved continuously by adapting itself to the changing parameters of its parent society. Such evolution has been possible because of a process of experimentation, leaving behind the archaic and the fossilised and by absorbing and assimilating new sources, resources and forces. Evolution and expansion is possible because of such elasticity and adaptability.

Indian music has embraced from time to time by experimenting with cognate aesthetic expressions such as poetry and painting. Poetry is sung in verse, prose, their mixture, or merely the poetic idea or poetic expression. Thus it has played the role of a recitative (Kaya vacana or ‘gamaka’ art) and in a new modem form as ‘sugama sangita.’ Music has, in this way, served an additional or augmentative role in bringing out more clearly and more effectively, the emotive element in word meaning, often transcending the same through ‘dhvani’. Here its method is sonority and gamaka (tone curvature). The earliest reference to this is in Valmiki Ramayana. Indian music is employed in this way in all Indian languages, classical or folk. In associating itself with painting, music has drawn inspiration from the psychic phenomenon of synaerthesia - true or pseudo and has built a bridge between two interdiscipline phenomena viz line - melodic line, curvature - gamaka, tone of colorer (painting) and colorer or tone (music). This has resulted in describing svara in sangitasastra. In its multiple dimensions such as colour (vama) and chandas (prosaty/metre). It has further resulted in an emotive parallelism between music and painting in the form of svara-paintings and raga-mala paintings.

The phenomenal base of poetry is Chandas. If chandas is interpreted is rhythm, then it is a fundamental principle which governs all movement in the macrocosm and the microcosm. It permeate all forms of aesthetic expression: music, dancing, painting sculpture and architecture.


Conceptual Bases

Sangita and nrtya are intimately related to Chandas and have freely borrowed conceptual bases from the latter.

a) All their theoretical texts are composed in well known metres.

b) Technical terms such as laghu, guru, pluta, matra, laya, pratyaya (nasnta, uddhishata, sankhya, prastara) are common to both but in different connotation and applications. Bharatamuni employs prastara (schematic tabulation of permutative possibilities) only in the context of chandas but the others in both. Marga and desi are also common to both. In recent times, the terms tala and sangati are interpenetrative in both. It is probable that the terms laghu, guru, pluta and matra are borrowals from Chandas; their respective quantities were initially the same in both. Tala is borrowed from music into Chandas.

c) Prastara of Chandas has profoundly influenced music of the varieties of Chanda pratyaya viz. prastara nasta, uddista, sankhyana, ekadvyadilagakriya and adhvayooga, the last two are not found in music but the others function in music also in their original concepts. Some of the Chandas prastara mode occur in a different garb in tala prastara, which has developed its own special twenty five varieties.

d) Yati (ceasura) of Chandas occurs in tala also, nearly in the same connotation.

Music theory six tala pratyaya means such as kriya and marga, added some five and refined them into taladasaprana.

e) The eight syllabic triads (ganas) ma-ya-ra-sa-ta-ja-bha-na of Chandas are used in naming and defining desitalas.

0 Composers occasionally employ syllabic or movaic clusters in composing words to augment poetic expression.

g) Chandas sastra entertains a convention that auspicious or inauspicious effects would accrue if a given segment of the composition has such and such gana at the beginning Sangitasastra has a parallel convention (eg. Nartananir naya of Pandarika Vittala 3.2. 15-28).


Ddm inance of VerseMusic of ancient Indian Theatre was composed in songs called dhruva in

vfttas, as revealed in the Natyasastram of Bharatamuni, Music of the Samavedais invariably set to words of Vedic metres. Secular music experimented with a compositional genre in which the word text was prescribed (niryuka) to specified metres in Sanskrit and other languages. A large proportion of song types described in the major music treatises such as Shamgadev&s Sangitaratnakara are classified into versified (padya), prose (gadyaja) and their mixture (misraja-Champu). In fact, there is only one genre in Indian music which iscomposed exclusively in prose viz. gadya (which has six varieties).

One of the chief experiments of Indian music was with prescription viz. to find if or how much musicality could survive or flourish if restricted to specified music parameters such as raga and tala and literary parameters such as specified language, metre and emotive content (rasa). The following were prescribed to be composed in the self named Sanskrit, Prakrit or other meters.

1. Ela5. Kanda (29 varieties) 9. Krauncapada 13. Kalahamsa 17. Raga Kadamba 21. Vastu 25. Vadana 29. Rahadi

2. Dhenki 6. HayaJaka 10. Arya 14. Totoka 18. Tripadi 22. Dandaka 26. Charchan 30. Mangalachara

3. Jhombada 7. Dvipadi 11. Gatha 15. Dhata (Ghata) 19. Chatushpadi 23. Jhampata 27. Chanya 31. Dhavala and

4. Rasaka 8. Chakravala 12. Dvipatha 16. Vrtha 20. Shatpadi 24. Tri bhangi 28. Paaddhadi 32. Mangala.

Many of these were sung to prescribed or desired tala or talas. This raises a pertinent question: Ready intelligibility of any phenomenon is proportional to the parity of speeds (velocity?) of the external event and the recepient’s consciousness. In metrical expression, ready grasp demands close continguity, grouping and ceasura. In musical expression it demands these factors in melodic movement and rhythm progression. Metrical expression suffers in musicality if the svara-laya matches with it event by event. If on the other hand if musical expression proceeds at its natural pace the compactness and densness of speech sounds, sine qua non of metrical expression sufffers. One way to solve this problem is to retain the metrical character by taught phrasing subject to the exigences of verse foot and ceasura and retain musicality by inserting musical phrases in between verse phrases and by retaining a recitative quality in the music applied to word phrases. In fact this is how Chandas prabhandas were sung when free from the constraint of tala requirements.


Decline of VerseAn additional constraint of tala prescription in Chandaprabandhas makes the

problem musicality acute. If metrical prescription is vigorously followed, the composition is reduced to a yathakshara prabandha. If the tala prescription is vigorous, metrical structure is sacrificed. The only possible compromise is to regard the prescription as not applying simultaneously i.e. the composition is performed first only as Chando-niryukta and then, separately as only talaniryukta. Some conciliation would be possible the deshi tala prescribed possessed a rhythmic structure corresponding to metrical structure. But this was not always done. The reason was deshi talas had structural components (anga) such pluta and Kakapada which are alien to metres. Metrical and tala rhythms often run counter to each other in such musical compositions. There are problems relative to the performer and not so much to the composer. While inclusion of Chandas and tala was novel to Indian music, it was received with enthusiasm and the number of such compositions proliferated and reached a critical hunt in about the 13th century A.D. Their performance grew smaller and smaller in course of time as their performers began to corners with the problems. An artist of a performing art, especially catering to large audiences prefers to combine effectiveness with relative simplicity and avoidance of complexity both for his own sake and for the sake of his rasikas. If there is a choice between pleasing audiences through simplicity and pleasing them through scholarship or complexity. Most of them prefer the former coeval with compositions flourishing with chandas with or without tala, there were available also songs with tala and without tala. The latter highlights only one aspect of music and is therefore incomplete in respect of a temporal constant framework which serves as constant foil for a dynamic and progressive flux of rhythm. This is the essential uniqueness of Indian music and this is why compositional type, in which tala is not dominant or absent are very few. It is for this reason that Karnataka music, in its collective wisdom, dropped this experiment and retained Ugabhoga, Shloka and Viruttam and such other musical forms which contain metric forms or elements as independent forms free of tala. For the same it retained songs like Vrthanama of the Haridasas which contains a succession of pure vrittas and pure charanas (with tala).

Role of TalaA few words on the role of tala in Karnataka music are relevant to this context.

Tala is a temporal device used in measuring the duration of music or dance event. It is a means of fixing every event in what it measures in the latter’s body in terms one or more moments in progression. Simultaneous events (created by different

entities such as performers or created by different kinds of events such as music, poetry, dance etc.) obtain their simultaneity because of their cooccurrence at a given single moment, which is fixed by tala. Similarly successivity of events of a single process may be marked in time by Tala. Both fixation and measurements are carried out in terms of its subdivisions called anga. These may be divided further into their unitary durations. Unlike phenomenal clocks based on the movements of extraterrestrial bodies such as the Sun, Moon and Stars, it is elastic and its magnitude may be determined at will by the performer. It provides a variety of patterns of its composition of angas, as moder, and its speeds, its extent by dimunition or expansion. Thus it is a wholly organic, variable clock and may be adjusted to an inner time. Its constant, continuous repetition provides a constant pattern of a timeframe against which the series of events of music or dance in an ever changing progression. The content of these events e.g. tone, syllable or body movement may be varied in density to accommodate a large spectrum of aesthetic and creative needs. All such variation, however acquire a rhythmic posture because of their containment within a general rhythm frame despite their varying and scattered distribution within the tala cycle. This is a great advantage because it allows a very useful flexibility and wide manipulation to both performer and composer. Even though the choice is limited to seven tala models at the present time and their variations in duration, extent, speeds, tempi etc. they have proved more than adequate to both composer and performer to display their skills, scholarships, aspirations and creative urges. This is why nearly all genres of compositions in Karnataka music viz gita, svarajati, jatisvara, vama, krits, and its structural cognates such as devaranama, pada, javali, tillana, ashtapadi, taranga, etc and the genres of Hindustani music dhrupad, dhamar, khyal, thumri, tarana, hori, Chaturana, sargam, tirwat, ashtapadi, gazal kajri etc. are all composed in tala.

The mystery as to how and when Indian music will experiment again lies in the womb of time.

------------------------------ THE MUSIC ACADEMY MADRAS ----------------------------------

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Obituary

The Music Academy, Madras, reports with a deep sense of Sorrow the passing away of the following Vidvans during the year 2003


Sangita Kalidaikurichi MAHADEVA BHAGAVATAR

Sangita Kalanidhi Semmangudi SRINIVASA IYER

{777}

ISSN. 0970-3101

THE JOURNALo f


Vol. L X X V I ____________________________________________ 2005

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m Jll'ilPd H5T frlgrfa ^ 1 1

“I dw ell not in Vaikunta, nor in the hearts o f Yogins, not in the Sun; (hut) where my Bhaktas sing, there be I, N arada !”

Narada Bhakti Sutra

EDITORIAL BOARDDr. V.V. Srivatsa (Editor)





V. Sriram

THE MUSIC ACADEMY MADRASNew No. 168 (Old No. 306), T.T.K. Road. Chennai 600 014.


A N N U A L S U B S C R IP T IO N - IN L A N D Rs. 15 0 FO R E IG N US $ 5



All Correspondence relating to the journal should be addressed and

all books etc., intended for it should be sent in duplicate to the Editor, The Journal o f the Music Academy Madras, New 168 (Old 306),

T.T.K. Road, Chennai 600 014.


recommendation o f the Editor. The Editor reserves the right to accept

or reject any articles without assigning reasons.



by the writer (giving his or her address in full.)

The Editor of the Journal is not responsible for the views expressed


CONTENTS

Pages

1. Report of Annual Conferences & Concerts 2004 147

2 . Speach of Conference President 148

3. Profile of Awardees 149

4. Meetings of the Advisory Committee 154

5. A Review of Srj Thyagaraja Swamis Pancharathna Kritis with specific reference to notation inSangeetha Sampradaya PradarsiniDr. S.A.K. Durga \^ \

6 . The Ragangaragas in the Sangita Sampradaya PradarsiniDr. R. Hemalatha 166

7. Gamakas in Sangeetha Sampradaya Pradarsini 173

8 . PrabhandasDr. M.A. Bhagirathi x 80

9. Sangita Kalanidhi M.S.SubbulakshmiLakshmi Vishwanathan 189

10. Gamakas Notation in Sangita Sampradaya PradarsiniSmt. Vidyashankar 191

8 . Ragamalikas of Muthuswami DikshitarSmt. Sulochana Pattabhi Raman 207

9. Notation for four Ragamalikas 209

10. Obituary 215

INAUGURAL REPORT OF

ANNUAL CONFERENCES b CONCERTS 2004

7he 78th Annual Conference o f The Music Academy Madras was held

between 19th December 2004 and 4th January 2005 a t the T T

Krishnamachari Auditorium a t the Academy premises. The Conference was

dedicated to the centenary year o f publication o f Subbarama Dikshitars

Sangita Sampradaya Pradarsini and the Annual concerts were dedicated to

the memory o f Bharata Ratna Sangita Kalanidi M S Subbulakshmi.

The conference was inaugurated by Honble Justice K S Bhaktavatsalam,

Former Judge Madras and Karnataka High Courts and Chairman,

Bharatiya Vidya Bhavan , Chennai Kendra. The President o f the Academy

received the Chief Guest and escorted him to the dais and the function started

with an invocation. The President welcomed the Chief Guest and escorted

him to the dais and the proceedings began with an invocation.

Sri K S Bhaktavatsalam in his speech

“Text o f English speech as appearing in the Souvenir 2004 to appear”

The Chief Guest summed up with an appeal to the musicians, both young

and old to preserve the rich traditions, purity and glory o f our classical music

and pass it on to posterity. Sangita Vidwan Sri Vellore Ramabhadran was

elected to preside over the 77th Annaul Conference o f The Music Academy

Madras.

The Sodas was presided over by Padma Bhushan D r S S Badrinath,

Chairman, M edical Research Foundation, Sankara Nethralaya, Chennai.


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THE M U S IC A C A D EM Y madras- >

Seventy Eighth Conference - 2004*■ - ~ . . . . . . .

SANGITA KALANIDHI AWARD


Vellore G. Ramabhodran

Bom on 23rd July 1929, Vellore Ramabhadran was trained in his formative years by his father, Shri Vellore Gopalachari, a Konnakkol Vidwan, in percussive arts. His debut took place at the tender age of fourteen, as an accompanist to the Veteran, Sangita Kalanidhi Madurai Shri Mani Iyer.

Shri Ramabhadran has had the privilege of accompanying titans like Shri Chembai Vaidyanatha Bhagavatar, Shri Ariyakudi Ramanuja Iyengar, Shri Musiri Subbramanya Iyer and Shri M.D. Ramanathan. He provided percussion accompaniment over decades to the redoubtable Dr. Semmangudi Srinivasa Ayyar.

The hallmark of his mridanga - playing is the Sukha-Bhava, the dexterity and softness of his beats. He is well known for the "sarva-laghu" style of playing adopted by him. He has amazing skills in conditioning a mridanga to any desired pitch, which is reminiscent of the wizardry of Tanjavur Narayanaswami Appa.

Over sixty years of performance, Shri Ramabhadran has accompanied three generations of artists and continues to be sought after by contemporary musicians of youthful vintage.

He has received many titles and awards including the Sangeeta Natak Akademi Award. He has been a member of the Advisory Committee of the Music Academy for nearly twenty years. The title of Sangita Kalanidhi is being conferred on him for his long service, as well as for his individual excellence.

THE M U S IC A C A D EM Y madras—" .. *■

Seventy Eighth Conference - 2004N

SANGITA KALA ACHARYA AWARD


Bom 1939, Shri V.P. Dhananjayan joined Kalakshetra, founded by Smt Rukmini Devi, when he was thirteen and learnt multiple forms of classical dances from maestros, including the legendary Shri T. K. Chandu Panikker. After completion of his studies, he joined the faculty of Kalakshetra and served them for over fifteen years. He was the lead dancer in several dance-drama production of kalakshetra.

Along with his wife Smt. Shantha Dhananjayan, also an alumnus of Kalakshetra, he founded in 1958, a dance institute called the Bharata Kalanjali, which is the alma- mater of many leading dancers of the current era. The Bharata Kalanjali is standing testimony of the vision, integrity and cultural ethos of the Dhanjayans.

Uncompromising on essential classical values, Shri Dhananjayan has blended several original adaptations with the classical style. He continues to perform along with his spouse.

Widely travelled, he has many overseas performances to his credit. Shri Dhananjayan is well qualified by virtue of the quality and quantum of disciples, to receive the award of Sangita Kalacharya.

THE M U S IC A C A D EM Y madras/ - ------- ■—■------------------------------------------------------------------- --— --------- ■—

Seventy Eighth Conference - 2004> —



Rukmini Rajagopalan

Bom on December 11, 1913, Smt. Rukmini Rajagopalan continued her musical pursuit despite marriage at a tender age. She came under the tutelage of Shri. Sambamoorthy and the legendary Shri. Parur Sundaram Iyer.

Smt. Rukmini Rajagopalan was an aficianado of the renditional style of Sangita Kalanidhi Shri. G.N. Balasubramaniam.She developed a style which is an amalgam of pristine purity and the innovative features of latter-day music. Smt. Rukmini Rajagopalan, thus, is a vital link between past and the present.

She has imparted music to many students, prominent among them being Smt. Sukanya Swaminathan, Smt. Indira Ramanathan, Smt. Sumitra Ratnam, Shri. Sanjay Subramaniam and Shri. Sri ram Gangadharan.

This nonagenarian virtuoso is the spouse of Late Shri. T.V. Rajagopalan, who has rendered yeoman service to the Music Academy, in multiple capacities.

THE M U S IC A C A D EM Y madrasr ••• ■.

Seventy Eighth Conference - 2004

TTK MEMORIAL AWARD


T.R. Balamani

Bom December 1936, Smt. T.R. Balamani, had her primary musical induction under the guidance under Shri. Tirupunithura Narayana Bhagavatar, Subsequently, she joined the Central College of Music, Madras, where she came under the tutelage of the titan, Shri Musiri Subramania Iyer. Later, She learnt under Sangita Kalanidhi Shri T.K. Govinda Rao and Shri K.S. Venkataraman.

Having shifted to Mumbai, she served the faculty of Bharatiya Music and Arts Society for a decade. She is a much sought-after and respected teacher. She has a very wide reperoire, encompassing many rare compositions. She is well known for her method of teaching Neraval and Pallavis.

Smt. Balamani is a teacher par-excellence and many of her disciples have made their mark in the realm of Kamatic Music

The TTK award being presented to her, supplements many titles and awards already received by her.

THE M U S IC A C A D EM Y madras*

Seventy Eighth Conference - 2004> ■ /

TTK MEMORIAL AWARD


Anayampatti S. Ganeshan

A Septuagenarian artist, Shri Anayampatti S. Ganeshan is a fourth-generation performer of the art of jalataranga. His father Shri K. Subbaiyer was Ashthana Vidwan of the Mysore Court. Shri Ganeshan imbibed this performing art from his father and from his two brothers

The Anayampatti family are pioneers who preserved the art of Jalataranga and Shri Ganeshan is a worthy scion thereof. He has implemented many modifications to the Jalataranga without affecting the tonal quality or pristine purity.

Shri Ganeshan is also an accomplished violinist and has accompanied stalwarts of yesteryears. He is also a vocalist. Shri Ganeshan has performed throughout India and abroad, as well. His dedication and virtuosity is sincere. The Music Academy takes pleasure in presenting Shri Ganeshan, the TTK Award.

Meeting of the Advisory Committee

21st December 2004

THE LAST minute turn of events has made the Music Academy festival possible. The Experts Committee which decides the lecture demonstration series in the morning session met for a couple of hours on December 18 morning and decided to dedicate the morning session to “Sangeetha Sampradaya Pradarshini” because this year is its centenary. The festival at the Music Academy itself is dedicated to the memory of M.S. Subbulakshmi. The morning sessions normally have 30 per cent of endowment lectures, which were abandoned this year. Normally there will be two lectures everyday. But, due to lack of time and the focus on Sangeetha Sampradaya Pradarshini, it was decided to have only one lecture-demonstration everyday of 90 minutes instead of two. Except for a few, the lectures are being delivered by the members of the Experts Committee themselves.

The morning sessions began with rendering of devotional songs on Ambal by singers belonging to Panchakshari Group.

The first lecture demonstration was presented by Prof. M.A. Bhageerathi on Prabandhas. She explained the origin of the word and how it occurred in various treatises before Subbarama Deekshitar. There are six characteristics for prabandhas of which at least two must be present in a prabandha. The “Sangeeta Sampradaya Pradarshini’ has ten prabandhas of which five were demonstrated by Prof. Bhageerathi, including the Hamsadhwani prabandha composed by Ramaswami Deekshitar.

Sangita Kalanidhi Sri. B. Rajam Iyer presented a lecture demonstration on the “Pancha Bhuta Linga Kritis of Muthuswamy Dikshitar.” The five compositions were “Chintaya Maakanda” in Bhairavi, “Jambupate” in Yaman, Arunachala nayakam in Saranga, “Sri Kalahasteesam” in Huseni and “Ananda Natana’’ in Kedara. Rajam Iyer devoted a considerable time tracing the sthala purana aspect of these five Saivite shrines. He was accompanied by Mullaivasal Chandramouli on the violin and K. R. Ganesh on the mridangam.

22nd December 2004

Sukhagaanam group of singers rendered devotional songs.

‘Rare compositions of Vedanayakam Pillai’ was the theme for the lecture demonstration presented by Sarojini Sundaresan. She demonstrated eight of his compositions to establish his secular credentials though he was a Christian. All the eight compositions were in Tamil. She used multimedia to emphasise her talk.


23rd December 2004

- Compositions of Periasami Thooran were presented by singers of Geetha Nivedana Trust.

T. K. Govinda Rao gave a lecture demonstration on pada vamam, tana vamam and chouka vamams from the "Sangeetha Sampradaya Pradarshini.” He published a book of 50 vamams in 1979 and is collecting vamams now for a further publication and claims a collection of around 400 vamams so far. There are 36 vamams in Sangeetha Sampradaya Pradarshini, one pada vamam, 22 tana vamams and 13 chouka vamams. Then, he demonstrated "Enthani ne Telupudu Ra,” the pada vamam in Khamas. He emphasised the importance of sahitya and the proportional importance to music. He demonstrated the chouka vamam in Suruti. He gave examples of swara sahitya vamams in Mohana, Todi and Kedaragowla and mentioned some of the vamams of Swati Tirunal.

24th December 2004

Smt Kanthimathy Santhanam & party presented devotional songs.

Ragangaraga and Gamaka as treated by Subbarama Dikshitar formed the subject of the presentations by R. Hemalatha and R.S. Jayalakshmi.

Dr. N. Ramanathan introducing the topics explained that Ragangaraga was the term used by the scholars in the Dikshitar sampradaya to refer to the Melakarta and out of the 72, many had been created to make the 72 mela scheme fully functional.

Hemalatha discussed the approach of the scholars of the Ragangaraga school in formulating the arohana-avarohana. Dr. Jayalakshmi took up the eleven gamakas and demonstrated the method of playing them on the veena as explained by Subbarama Dikshitar.

25th December 2004

Disciples of Sangita Kalanidhi Smt. R.Vedavalli presented Sadasiva Brahmendra keertanas under the banner Devaganavali.

Dr. Pappu Venugopala Rao presented a lecture demonstration on Annamacharya’s compositions related to sevas performed at the Timmala temple with the help of a multi media presentation. He was assisted in demonstration by R Surya Rao. A total of nine compositions of Annamacharya dealing with various sevas at Tirumala were demonstrated.


26th December 2004Compositions of Utukkadu Venkatasubba Kavi were rendered by singers of

Sunaadam group.

Smt.Vidhya Sankar presented a lecture demonstration on gamakas in Sangeetha Sampradaya Pradarshini. With her experience and knowledge, she was very effective and assertive in her lecture and demonstration. She has published three volumes of Shyama Sastri’s compositions with notations. She said that "Sangeetha Sampradaya Pradarshini” with its gamaka notation established the art and science of gamakas. Notation is fairly a modem innovation. Subbarama Dikshitar explained the gamakas with veena technique.

She demonstrated how gamakas of different shades are produced by one finger, double finger and right hand plucking of veena to produce the gamaka.

27th December 2004Papanasam Sivan’s compositions were rendered by singers belonging to

Kamaranjani Group.

Prof. S.A.K. Durga presented a lecture demonstration on the Ghana Raga Pancharathnams of Tyagaraja Swamy with reference to Sangeetha Sampradaya Pradarshini notation.

She said the Varali composition is not found among the Pancharathna kritis of Tyagaraja Swamy in the book. Only four are mentioned in Sangeetha Sampradaya Pradarshini and most of the version given differs from how they are performed today. She observed that in those days, these five might not have been termed as Ghana Raga Pancharathnams. She commenced her lecture with “Jagadananda karaka” in Nata and showed how the order varies from what is practised today. There are also variations in swaras and swara sahityam. There are only nine charanams as against 10 performed today.

She then took up the second one, “Duduka gala” and gave similar treatment. In the "Sangeetha Sampradaya Pradarshini,” the Sriraga composition, “Endaro Mahanubhavulu” occupied the third position not the Aarabhi composition. Again, there is variation in the order of swara sahitya from what is in practice today. The fourth one is “Sadhinchene” in Aarabhi. Dr. Durga said according to Sangeetha Sampradaya Pradarshini and her own conviction, after every charanam, “Sadhinchene” is repeated and not “Samayaniki Thagu Mataladi” as is in vogue mostly today.

Dr. Durga’s presentation had all the components of research and analysis. Dr. Srivatsa, Prof. S.R. Janakiraman and others offered comments.

- THE MUSIC ACADEMY MADRAS

28th December 2004

Lalith Gana Varshini group of singers presented some Tiruppugazh compositions.

Nirmala Ramachandran presented a lecture demonstration on padams and javalis. She belongs to a generation of dancers, who know literature and music to perform dance. It was virtually more a concert of padams and javalis than a lecture. She briefly introduced the topic saying that she learnt padams and javalis from Balasaraswathi’s mother Jayamma and Muktha amma.

She presented about 10 compositions in different ragas by different composers. While she sang, she also demonstrated with abhinaya each line of the song.

29th December 2004

Teachers and students of Shri Nadaananda Sangita Vidyalaya presented compositions of Shyama Sastry.

Vidwan B.V. Krishnamurthi gave a scintillating and thought-provoking lecture demonstration on neraval and pallavi. He gave definitions of pallavi and the evolution of the tradition of neraval in pallavi.

By preference, pallavis rendered in slow tempo have the inherent potential for neraval than those in medium tempo. Krishnamurthi spoke about how he was taught exposition of neraval in pallavi by his guru Mudikondan Venkatrama Iyer. Then for a very considerable time, he demonstrated efficiently Chinnaswamy Dikshitar’s composition “Ganalola Karunala vala.”

He was accompanied by Mullaivasal Chandramouli on the violin and K. R. Ganesh on the mridangam. One of his disciples, Pushkala read the script.

30th December 2004

Shreyas group of singers presented some devotional songs.

T. V. Gopalakrishnan presented a lecture demonstration on “Tani Avartanam Ensemble Techniques.” He commenced his lecture by playing a few recordings of Mridangam Maestro Palghat Mani Iyer embedded with nadam even when playing intricate “kanakku” patterns. TVG emphasised that melody and nadam should never be sacrificed for the sake of handling complicated phrases in Tani Avartanams as this would make the listeners quite restive and the length of the avartanas should be short and crisp not exceeding 20 minutes in a concert.

Not paying attention to these aspects is the reason for the rasikas leaving the auditorium during Tani sessions.

Varadarajan played on the violin, “Sri Venkatagirisa” in Surati of Muthuswamy Deekshitar for which TVG demonstrated mridangam playing technique. With other percussion artistes, he played a couple of rounds of Tanis.

In this ensemble the other participants were Sudarsan, Konnakkol and morsing, Amrit kanjira and Suresh ghatam.

31st December 2004Suswara Group of singers presented some devotional songs.

Vidushi Sulochana Pattabhiraman with her students presented the ragamalikas in Dikshitar tradition. Ragamalikas have been in vogue from the 16th century, Purandara Dasa’s times. Ramaswami Dikshitar has composed ragamalikas on Venkateswara (48 Ragas and 108 Ragas).

Muthuswami Dikshitar has composed four important ragamalikas, Dasavatara Ragamalika, in Ghana panchaka, one in dwitiya Ghana i.e. in Kedara. Matsyavatara in Nata, Koorma in Gowla, Varaha in Sri, Narasimha in Arabhi, Vamana in Varali, Parasurama. in Kedaram and the rest in Mangala ragas, Rama in Vasantha, Balarama in Surati, Krishna in Saurashtra and the one on Venkateshwara in Madhyamavati.

Sulochana Pattabhiraman took up Pooma Chandra Bimba - on Kamalamba. In this Ragamalika all upanga ragas of Sankarabharana janyam are employed - Poomachandrika, Narayani, Saraswati Manohari, Suddha Vasantha, Hamsadwani and Nagadhwani. She then spoke about the Chaturdasa Ragamalika - on Viswanatha, Sri Viswanatham consisting of two parts, the first containing six ragas and the second eight.

1st January 2005The morning devotional songs were rendered by Sangita Alayam group of

singers on Krishna.

Vidhushi R. Vedavalli presented a lecture demonstration on tanam in the Mudikondan tradition.

She dwelt briefly in her introductory remarks about various definitions of ragam, tanam and pallavi and how they constitute a sequence in vocal tradition which is not necessarily followed by instrumentalists.

She lamented that because of time constraints in the modem times, tanam is not getting its due share and is shrinking. Tanam is always sung in medium tempo. She gave the etymological derivation of the word “tanam” and it is basically one

______________________ THE MUSIC ACADEMY MADRAS ---------------------------------- THE MUSIC ACADEMY MADRAS

which pleases and gives scope for expansion by definition. It is possible that it may have come from the word anantam - eternal.

She mentioned 10 types of tanam and demonstrated in her own style some tanams while their intricate techniques were presented on the venna by Ramani. She felt that the major ragas are good for tanam and explained how the shades of tanam are seen in some of the compositions of Dikshitar and particularly those of ghana raga pancharatna kritis of Thyagaraja Swamy.

She played a brief recording of Mudikondan Venkatrama Iyer in Shanmughapriya, Bhairavi, Reetigowla and Athana. Her presentation and lucidity of expression in explaining the complicate intricacies and nuances of tanam has made the subject much more interesting and that much easier.

2nd January 2005

After the Devotional songs, Vidwan V. Subrahmaniam one of the senior most disciples of Semmangudi presented an interesting lecture demonstration on the three swarajathis of Shyama Sastri. He began by raising some thought provoking questions. Is it appropriate to call these three majestic compositions “Swarajatis” only because they are structurally so? He felt that by the word swarajathi we think of the ones taught after geetams and those taken up for Bharatanatyam. Why Thygaraja Pancharathnams are not termed Swarajathis by the same token?

All the three swarajatis of Shyama Sastry in Bhairavi, Yadukula Kambhoji and Todi start in Mandra Sthayi, low pitch. The Swara jati in Bhairavi has eight charanams each one starting in the swaras of Bhairavi in the arohana karma, ascending notes in misra chapu talam.There is scope for neraval in the eighth charanam. The Swara jati in Yadukulakambhoji has eleven charanams of which only ten are found in the Sangeeta Sampradaya Pradarshini.. This is also in misra chapu.

The third and the last Swarajati is in Todi - Adi Talam It has six charanams. Small deviations in the text are seen in the version in Sangeeta Sampradaya Pradarshini and in the one published by Vidya Shankar. Semmangudi followed the latter version. All the three swarajatis were demonstrated by V. Subramaniam with vocal support by his student Bhavna, accompanied by R.K. Sriramkumar on the violin, and Vaidyanathan on the mridangam. In addition, "Mariyevare gati” in Ananda Bhairavi, and "Mayamma” in Sri were also rendered with a couple of flashes of Sri Raga.


3rd January 2005Kulasekhara Azhwar’s Pasurams were rendered by singers belonging to

Subhsruti Group.Prof. S. R. Janakiraman presented a lecture demonstration on ragas exclusive

to Sangita Sampradaya Pradarsini — Kalavati, Navaratna Vilasa, Amritavarshini, Devaranji, Ragachoodamani, Marga Desi, Udayaravichandrika, Salanga Nata and Samanta. For each of these nine ragas, he gave, the ascending and descending notes and demonstrated compositions from the “Sangita Sampradaya Pradarsini.” He began the lecture demonstration with Sweta Ganapathim in Ragachoodamani, mangala devathe in Marga Desi, Shri Guruguha Moorthe in Udayaravichandrika, Namaste paradevatae in Devaranji, Navaratna Vilasa Vibhava Prade in navaratna vilasam. He presented “Anandaamrita karshini” in Amritavarshini. For Kalavati, he presented “Kalavati Kamalasana Yuvati.” While dealing with Salanga nata, he said this is a raga of antiquity having textual tradition at least from the 15th century and presented “Avyaja karuna katakshi.” He concluded with samantam by saying Annamacharya used it very extensively. Subburama Dikshitar felt that this raga was difficult for vocalists but good for the veena. This was refuted by Prof. Janakiraman. He demonstrated briefly Annamacharya’s “Shaja vaishnavachara varatanula” and gave the complete demonstration of pranatharti haraya of Dikshitar.

Udayaravichandrika and Amritavarshini are the two ragas which do not have gita and tana out of these nine ragas In his inimitable style, Prof. Janakiraman said Devaranji is a wonderful raga and wish the raga popularity. Another notable remark by him was about the navarathna vilasam. He said this raga should be given credit for not having been noticed by many.

4th January 2005Students from Teachers’ College of Music of The Music academy presented

devotional songs.The last lecture demonstration in the series was by the Sangita Kalanidhi

designate Vellore Ramabhadran on how to play mridangam as an accompaniment to the main artiste in a concert. Vellore Ramabhadran with his more than 60 years of experience dealt with the topic with all the care it deserved. The grand old man of Carnatic music, Semmangudi once complimented him. and said he followed diligently and was like a faithful wife. Vellore Ramabhadran presided over the morning sessions and V.V. Srivatsa, offered introductory remarks and concluding compliments.

. • i ^ ( 9 9 • •

A Review of Sri Thyagaraja Swami's Pancharathna Kritis with specific reference to notation in

Sangeetha Sampradaya PradarsiniDr. S.A.K. Durga 2004

Saint Thyagaraja as a Composer

Saint Thyagaraja was bom on May 04th 1767 at Thiruvarur in Tanjore District. His parents were Ramabrahmam and Sitamma. His grand father Giriraja Kavi, a poet and musician has composed many yakshaganas in Telugu. Thyagaraja had studied Telugu and Sanskrit. His songs are in Telugu as well as Sanskrit. In Thygaraja’s ghanaraga pancharathna krities, the text of the song in Nattai beginning with the words “Jagadanandakaraka” is in Sanskrit. The other songs are in Telugu.

Thygaraja’s compositions are called as Thygopanishad and are widely learnt and performed in concerts. His style is lucid and the raga bhava is well portrayed in every composition. He has also introduced many new ragas to the camatic music world.

Sangathies are his specialities of his krities. The text gives scope to sing with sangathies which enrich raga bhava and sahitya bhava. The pancharathana krithi in Nattai “Jagadanandakaraka” first line of the text admits twelve sangathis (refer Anubhandam B Sangita Sampradaya Pradarsini of Subbarama Dikshitar vol.5 (1903)1453 p. The sangati’s in this nattai Pancharathnam is full of Raga bhava and sahitya bhava. In sangita Sampradaya Pradarsini vol.5 (1903) Anubhandam B only four compositions are published with sangathies except varali kriti (1453- 1469).

Saint Thyagaraja, one of the pillars of Camatic Music has sung more than 800 compositions many of them in praise of Sri Rama and some of them on other deities. He has written three operas, Nouka charitham, Prahalada Bhakthi Vijayam and Seetharama Vijayam among which Seetharama Vijayam is not available. Among his compositions, six hundred and seventy five compositions are available in text form but in performing tradition only three hundred and sixty five compositions are sung by musicians in practice.

Thyagaraja’s Pacharathnas are performed now in the five Ghana ragas, Nata, Goula Aarabhi, Varali and Sree ragas. These ragas are known as “Ghana” ragas. The term “Ghana” is used for “Tanam”. These five ragas are used to play the tanam on the Veena from the past. There are also “Chitta Tanas” in these five ragas as technical composition for veena. Since Nata, Goula, Aarabhi, Varali


and Sree ragas are used to play Tanam they are known as “Ghana” rag as. From the time of Matanga’s “Ghana, Naya, Desya” ragas classification in his work “Bruhaddesi” which belongs to 8th Century A.D. these five ragas are known as “Ghana” ragas.

Thygaraja’s Pancha rathanas or five gems belong to the category of group kritis. The name “Pancharatnam” is given by great performers of the past and not by Thyagaraja. The rathnas or gems are nine in number and called “Navarathna” and there is no referance for in the name “Pancharathna” in any scriptures. The reason why performers named these five compositions as “Pancha Rathnam” can be assumed that each of the composition in this group is a “Rathnam” - or a precious gem. The structure, text, and melody are unique and captivating in the five compostions and therefore they are known as Pancharathana Keertanas. There is also the interchange of the usage of the term “Keertana” and “kriti”. The compositions are called Pancharatna Keertanas as well as Pancharatna krities.

The “Pancharatna Keertanas” reveal Thyagaraja’s genius, his mastery over the sahitya and sangeetha and his philosophy. The format or structure of the Pancharatna Keertanas are different from his other compositions. There is pallavi, anupallavi and Swama Sahithyam in every compositions. The singing of swara and sahitya for the charanas is said to have come from the time the Pancharatnas are sung in his samadhi at Thiruvaiyar from the year by great musicians as a group performance (.’’Goshti Ganam” ).

The singing of Swaras in the same manner by all the musicians assures the same “Patantara” of the madyamakala swara sahithya. There may be slight variations in the melodic part Pallavi, Anupallavi and the charanam after the Swama Sahithyam - in the patantaram but all the Swama Sahithyam are sung in unison by the performers. At the Bakula Panchamai day at Thyagarajar Samadhi at Thiruvariyaru, in Tanjore District the group singing of the Pancharatna keertanas by Vidwans and Vidushis transposes the listeners to a different world. The Pancharatnam compositions are sung in the Thyagarajan's Samadhi at Thiruvaiyaru Pushya Bakula Panchamai day as a ritual for the worship of Thyagaraja’s Anniversary which is unique and no other composers anniversary is celebrated as Thyagaraja Swamigal’s uptodate.

Pancharatna Keerthanas in Sangita Samprayadaya Pradarsini (Part V Anubandam B)

In the work “Sangeetha Sampradaya Pradarsini” by Subbarama Dikshiter, Thyagaraja’s four compositions ‘Jagadananda’ in Nattai, ‘Dudugugala’ in Goula, ‘Endaro’ in Sriraga and “Sadinchene’ in Aarabhi are published with notation in


the above order and the Varali raga composition ‘Kanakanaruchi’ is not found. It is in the Anubandam B. pages 1453-1474. They are written as .’’Keerthanam”. There is no mention of ghana raga or Pancharathna ‘kriti’ or Keerthanam.

It is not known why Varali Keerthanam does not find a place in Sangeetha Sampradaya Pradarsini along with the other four Keerthanams. It may be assumed that Varali composition was not known to many musicians at that period. After the group singing of the Pancharatnam at Thyagarajar’s Samadhi on the Pushya Bakula Panchami day every year as a ritual of offering homage to Saint Thyagaraja, the Varali composition was known to almost all the musicians.

Though it is known as ghana raga Pancharathnam, among musicians, the book published by Nanganallur Sri Thyagaraja Sangeetha Samajam with notation by Semmangudi R Srinivasa Iyer gives the title as “Sri Thyagaraja Swamigalin Pancharatna Keerthanaigal“ not as ‘ghanaraga’ but as ‘Pancharathna Keertani’ in the year 1975.

The first composition ‘Jagadananda Karaka’ in Nattai (1453 p) in Anubandam B in Sangeetha Sampradaya Pradarsini) has twelve sangathis in first line of the pallavi and five sangathis on the second line ‘Jaya Janaki Prana’. The Charanam is given as “swara sahithyangal” from which are can understand that the Charanams are sung as swarasahithya. There are variations in the order of swarasahithya from how they are sung today by musicians which follow the book of Semmangudi Sreenivasa Iyer published in 1976. The following order is found in Sangeetha Sampradaya Pradarsini:

1. Amarataraka2. Indra Neelamani3. Karadruta Subha4. Srushti Sthithyam5. Pada vijida6. Purana Purusha7. Sajjanamana8. Omkara Panchara9. Aganitha gunagana

In the present version the second Charana “Nigama Neeraja” is not found in Sangitha Sampradaya Pradarsini. The fourth charanam is 'Padavijita’. The third Charanam is S.S.P “Purana Purusha” is sung as 9th Charanam.

The second composition is ‘Dudukugala’ in goula raga is published in S.S.P (p.1459). The song does not have sangathis in Pallavi and Anupallavi.


The Charanam is given as Swarasahithyangal in the Sangeetha Sampradaya Pradarsini.

The order of the swarasahithyam is as follows in Sangeetha Sampradaya Pradarsini.

1. Sakala Bhootha2. Chiruta Praya3. Pradanamula4. Tanamadini5. Teliyani6. Drushtiki7. Chakkanimukha8. Manava9. Satulakai

In the present performing tradition the ninth Swarahithyam 'Sakulakai’ is not sung as the 9th Swarasahithyam but as ‘Charanam’ (Mudra Charanam). In the Swarasahithyam part, the first swarasahithyam is “Sree Vanitha” which does not find a place in Sangeetha Sampradaya Pradarsni. It is given in the book by Semmangudi Srinivasa Iyer (1976).

The Third composition figure as “Endaro Mahanubhavulu” in Sriraga in the Sangeetha Sampradaya Pradrasini and not the Aarabi Keertana “Sadinchene” as one performs as third composition in the “Pancharathnam”. In S.S.P, there are four sangathees on the Pallavi of “Endaro” .

The Charana swara sahithyam is given first the “Premamu” the mudra charanam of Thyagaraja which is in modem practice is sung as charanam at the concluding part after swarasahithyam.

The order of the swarasahithyam is given as follows:1. Samagana2. Manasa3. Saraguna4. Hariguna5. Pathitha6. Hoyalumeera7. Paramabhaghavata8. Nee menu Nama9. Bhagavata

------------------------------ THE MUSIC ACADEMY MADRAS ---------------------------------- THE MUSIC ACADEMY MADRAS

In the modem performing practice “Pathi tha Pavanu” is sung as fourth swarasahithya, “Hariguna” is sung as fifth swarasahithya as found in Semmangudi Srinivasa Iyer’s book (1976).

The fourth composition in S.S.P. is “Sadinchene” in Aarabhi raga which in modem practice is performed as third composition of Pancharathnam. The Charanam is given as “Samayaniki” followed by Swarasahithyam’s in the order.

1. Devaki Vasudeva2. Rangesudu3. Gopi Jana4. Vanitala5. Parama6. Hare Ramachandra7. Sree Venkatesa

There is no change in the order in the present tradition in swarashithyam. All the swarashithyas take Samayaniki as Upapallavi. At the end the first line samayaniki is followed by the Charanam words “Sad baktula’ and ends up with the Pallavi “Sadinchene”.

There is no change or alteration in the order of the swara sahithya or the mode of singing in the present performing tradition from the Sangeetha Sampradaya Pradarsini in this composition only.

As Subbarama Dikshitar has not menitoned ghana raga Pancharathna Keertanas in his Sangetha Samradaya Pradarsini, the order of compositions figure as Nattai, Goula, Sree and Aarabhi and Varali does not figure as Pancharathna Keertanams. Varali Keertanam “Kanakanaruchi” has been published all the works have come after Sangeetha Sampradaya Pradarsini. Therefore there is no question of authenticity about varali Keetanam of Thyagaraja as whether the composer about is Thyagaraja or not.

The names “Pancharathnam” and “Ghana” raga Pancharathnam” have come into use only from middle of the 20th Century. May be when they are sung as “Goshtiganam” at Thiruvaiyur Samadhi by great Vidwans and Vidushi-s. The Pancharathna Keertanas of Thyagaraja are monumental compositions. He is the greatest tone poet of humanity and his immortal compositions are soul stirring with raga bhava and sahitya bhava. It can be said tha the structure or format of Pancharathna Keertanas are unique from the other compositional structure. They are veritable treasures of camatic music.

• • • • • •

The Ragdngaraga-s in the Sahglta Sampradaya Pradarsini

Dr. R. Hemalatha

The term ‘Raganga’ denoting the meja-raga or the raga, which is the ‘name-giver’ for the me|a, is first seen in the work ‘Ragalak$anam’ of Muddu VenkatamakhT, printed as an appendix to the CaturdandTprakasika of VenkatamakhT published by the Madras Music Academy. After the formulation of the 72 meja scheme by VenkatamakhT, 19 mela-s alone were of use in classifying raga-s on the basis of the svara-s these took. There were no raga-s which could be classed under the remaining 53. Venkatamakhi himself states that only these 19 meja-s have popular raga-s employing them. After the period of Venkatamakhi, probably following his practice, other scholars must have referred to a meja with the name of the most popular raga which was associated with it, and found / created raga-s, with definite names, for the remaining 53. This must have resulted in the identification of a meja with a particular raga.

It is in this period that the arOha-avarOha as a lak$ana of the raga emerged and this changed the definition of a melakarta. There developed two schools of thought. One felt that a melakarta should have an arOha-avarOha in which either arOha-avarOha should be sampurna. The propounder of this seems to have been one Muddu Venkatamakhi, and this was followed by Muttusvami DTka§itar, Subbarama DTk$itar and others. This school used the term ‘ragangaraga’ to refer to a melakarta.

The other school felt that in a melakarta, both the arOha and avarOha should be sampOrna and the svara-s should occur in a krama or regular order. It is not clear who the propounder of this view was, but this view is seen to be adopted in the book Sangraha-cDdamani of GOvinda. And in this school a melakarta was also known by the name ‘Meladhikara’.

In these two schools raga-s were being created to make the 72 mela scheme functional. In the DTk$itar tradition or the Kanakambari system, 20 raga-s mentioned in the previous texts were retained and 52 raga-s were created. In the Kanakangi tradition six raga-s namely, TOdi, Ma|avagauja, Sankarabharanam, Nafta, Varaji and Kalyani all the other 66 raga-s were created.

As said earlier, the term ragangaraga in the sense of a melakarta is seen for the first time in the R3galak§anam portion appended to the CaturdandTprakasika of VenkatamakhT. Since VenkatamakhT has mentioned only 19 meja-s and he refers to a ragangaraga as a part of Grama raga-s, it is evident that the R3galak§anam portion is that of Muddu VenkatamakhT and not that of VenkatamakhT, the author


of CaturdandTprakasika. Even the Ragalak$anam of Muddu VenkatamakhT appears to keep a ragangaraga distinct from its meja, since any raga is mentioned as a janya of a meja and not of a ragangaraga.

Eventhough the term ‘Raganga’ is used for the first time in the Ragalak$anam, it is only in the SangTta-Samprad3ya-PradarSini of Subbarama DTk$itar (1904:3,30) that the explanation for the term raganga is given. The explanation given by Subbarama DTk$itar is as follows:

“The Raganga-raga-s are those raga-s that are associated with the grama raga-s. These are sampOrna. These are janaka raga-s and are also mela-s.

Subbarama DTk$itar in his SangTta-Sampradaya-PradarSini, under each ragafigaraga gives a lak$ana sloka, mOrcchana (comprising arOha-avarOha), a gTta attributed to VenkatamakhT, a tana for some of the raga-s followed by one or more kTrtana-s of Muttusvami DTk$itar and also songs of other composers. The mOrcchana given under a raga-s sometimes does not coincide with the lak$ana sloka and in some cases the prayOga-s found in the compositions do not reflect the phrases suggested by the mOrcchana given. From a study of the mOrcchana and the compositions one gets a feeling that there seems to be an underlying formula in the formulation of the mOrcchana and in some cases the melodic progression of the compositions seem to follow an idea.

In this study, to explain this fact, a set of ragangaraga-s is being taken up for discussion. Among them some are vivadi raga-s and some non-vivadi. The reason for taking up vivadi raga-s is that, Subbarama DTk§itar is the first author to refer to vivadi as a dO$a (demerit) and prescribes methods of overcoming the dO$a. Hence it is imperative to see whether the arOha-avarOha and the compositions given under the vivadi raga-s in the SangTtasampradayapradarSini help overcome the dO$a. The vivadi raga-s taken up are those of the first and seventh cakra-s. The idea is to see if the principle followed in the vivadTraga-s with suddha-madhyama raga-s are also maintained in those with prati-madhyama.

The non-vivadi raga-s taken up are those of the 10th cakra. These raga-s have the svara-s catusruti-rsabha (pancasruti-r$abha) and sadharana gandhara and prati- madhyama in common. These raga-s have been chosen to see if any common approach has been evolved for structuring the melodies.

Viv&di r&ga-s

Subbarama DTk§itar, while explaining the vadi-vivadi rule states that, in the combination of the svara-s suddha-r$abha and suddha-gandhara, the vivadi svara gandhara should be omitted in ascending movements. During the descending



movements it should be rendered with the ‘digujaru’ gamaka (the second variety of ‘ullasita’ gamaka) and ‘oraiyika’ gamaka (the second variety of ‘kurula’ gamaka). Now let us see whether the formation of arOha-avarOha and the musical forms given in SSP under these raga-s conform to the remedial measures stated by Subbarama DTk§itar.

The rdga-s o f the firs t and seventh cakra

The raga-s of the first cakra are kanakambari, Phenadyuti, Ganasamavarali, Bhanumati, ManOranjani and TanukTrti. These raga-s have the svara-s suddha- r§abha, suddha-gandhara and suddha-madhyama in common. In this discussion the pOrvanga alone is taken, since only in this portion the svara-s are common.

The arOha and avarOha of these raga-s are:Kanakambari : sa ri ma pa da Sa - Sa ni, da pa ma ga, ri ri, sa.

sa ri ma pa da da pa ni ni Sa - Sa ni da da pa ma ga ga ri sa. sa ri ma pa da ni Sa - Sa ni da pa ma ga ri sa. sa, ri ma pa da ni Sa - Sa ni da pa ma ga, ri sa. sa ri ma pa da ni, Sa - Sa ni da pa ma ri ga ri sa. sa ri ma pa ni Sa - Sa ni da ni pa ma ga ri sa.

PhenadyutiGanasamavaraliBhanumatiManOranjaniTanukTrti

The main feature of the arOha and avarOha of the ragangaraga-s of the first cakra are:

1. All of them omit gandhara in the arOha.

2. Regarding the sequence of svara-s in the pOrvanga part of the avarOha, it is found that all of them have minor differences. For Kanakambari it is seen as ‘m g r r s’ (a combination of dTrgha and janta svara-s); for Phenadyuti the gandhara is janta ‘m g g r s’; in Ganasamavarali and TanukTrti it is krama ‘m g r s’; in Bhanumati it is dTrgha gandhara (m g , r s). Only in the raga ManOranjani the pattern of svara-s is vakra ‘m r g r s’.

The ragahgaraga-s figuring in the seventh cakra are

Saugandhini (37), JaganmOhanam (38), Dhalivaraji, (39),NabhOmani (40), Kumbhini (41) and Ravikriya (42).

The arOha and avarOha of these raga-s are:

SaugandhiniJaganmOhanamDhalivarajiNabhOmani

sa ri ma pa da Sa - Sa ni da pa ma ga ri sa. sa ga ma pa da da ni Sa - Sa ni da pa ma ga ri sa. sa ga ri ga ma pa da ni Sa - Sa ni da pa ma ga ga ri sa. sa ga ri ma pa da pa ni Sa - Sa ni da pa ma ga ri sa.


Kumbhini : sa ga ri ga ma pa ni da ni Sa - Sa ni pa ma ga ri sa.Ravikriya : sa ga ri ga ma pa ni da ni Sa - Sa ni pa ma ga ri sa.

The main features of the arOha and avarOha of these raga-s are:

1. Three of the raga-s namely DhalivaraH, Kumbhini and Ravikriya have their purvanga in the arOha as ‘s g r g m’. The raga Saugandhini has ‘s r m’, the raga JaganmOhanam has ‘s g m p’ and the raga NabhOmani has ‘s g r m’.

2. In the avarOha, the raga-s all of them have a krama pOrvanga ‘m g r s’, except for the janta gandhara in Dhalivaraji.

Now, from the above details it can be summarised as follows:

The raga-s of first cakra omit gandhara in the arOha, whereas among the raga-s of seventh cakra, only Saugandhini omits gandhara. In the other raga-s except in JaganmOhanam, r$abha is vakra (s g r g m). In the raga NabhOmani it is vakra (s g r m), but the gandhara is not repeated as in the raga-s DhalivarajT, Kumbhini and Ravikriya. In JaganmOhanam, it is ‘s g m p’ which is interesting because, it omits r$abha and not the vivadT svara (gandhara). But Subbarama Dik$itar also gives another remedy which is that the chaya of vadT, samvadT or the anuvadT svara can be given on the vivadT svara to make it pleasing. In that case, if the r§abha is made vakra, it can be said that the gandhara will be slightly raised from its position and it would have the chaya of the sadharana gandhara, and in turn the vivadi dOsa is rectified.

With regard to the remedial measures given by Subbarama DTk$itar, the vivadi svara (suddha gandhara) is not vakra in the raga-s of the 7th cakra, whereas the suddha rsabha is vakra in the above said three raga-s whereas the raga JaganmOhanam has ‘s g m p’ and in the compositions the phrase is seen and in addition in the gTta the phrase ‘s g p p’ is seen which seems to be more interesting. In the kfti, the phrase ‘g r g m p’ is also seen. Another interesting point is that while giving the gamaka signs, Subbarama DTk$itar gives the ‘orayika’ sign above the gandhara while descending, but the ascending gandhara is not given any gamaka-sign. But the madhyama which follows the gandhara is given the ‘tirupa’ sign.

One interesting aspect about the vivadi raga-s (Chayanata, Varaji, Hejjaji, Samavaraji) which are mentioned in the earlier texts is that they have almost the same laksana in the SahgTta-Sampradaya-Pradarsini. So it can be inferred that the Ragangaraga-s would have been formulated on the basis of the earlier texts and in turn Subbarama DTk?itar would have explained the vivadi dO$a and the remedy.

Finally it can be said that the ragafigaraga-s cannot be rendered by having the arOha-avarOha as the base, but only after learning and understanding the compositions given under each raga.

Now the similarities in the aroha and avarOha of the raga-s of the first and seventh cakra-s are as follows:

The.raga Kanakambari and Saugandhini have the same set of arOha and avarOha except for the prayOga in the avarOha in the raga Kanakambari.

The pOrvafiga in the avarOha of all the raga-s is krama except in ManOranjani, in which the gandhara is vakra.

Thus the raga-s having the combination of Suddha-rsabha and Suddha-gandhara, have their arOha and avarOha structured in a manner that conforms to the ‘dO$a- nivarapa’ method prescribed by Subbarama DTk?itar. In other words, the raga-s of the first cakra omit the vivadT svara completely in arOha. In the raga-s of the seventh cakra, the vivadT svara is made vakra in four raga-s, and as already stated the vakra svara does not repeat in NabhOmapi. The raga Saugandhini omits gandhara, whereas the raga JaganmOhanam omit r$abha. This is interesting because, when the r$abha is omitted it would result in the misinterpretation of suddha-gandhara as catuh(panca)oeruti-r?abha, since the positions of these two svara-s are same. Regarding the avarOha, all of them except ManOranjani, have krama or straight phrase ‘m g r s’, whereas the raga ManOrafijani has ‘m r g r s’. In this the avarOha does not indicate any gamaka sign, but in the raga-s Kanakambari and Bhanumati, the gandhara is given as dTrgha in order to facilitate an easy rendering of the vivadT svara.

Now, how these raga-s of first and seventh cakra have been treated in the compositions given in the SangTta-sampradaya-pradarsini of Subbarama DTk$itar can be explained as follows:

In all these raga-s, in the compositions, the phrases in the avarOha are seen clearly.

1. In the raga-s of the first cakra, the pOrvaftga is seen clearly, except in the Bhanumati raga gTta, whereas the phrase ‘s r m’ is not seen and only the phrases ‘s g g r m’ and ‘p m r g r m’ are seen.

2. In all these raga-s, in the pOrvanga, the phrases ‘s r g r s ’ and ‘s g r s’ are seen.

3. In all the gTta-s and tana-s, in the pOrvanga region of the ascending movements, the phrases ‘s p m p’ and ‘s p p’ are seen more i.respective of


the arOha prescribed for the raga. Only in the raga-s ‘JaganmOhanam’ and ‘Dhalivaraji’, ‘s g g p’(and ‘s g m p’) and ‘s g r g m p’ are respectively seen in the ascending movements in addition to the above said phrases.

4. The krti-s to some extent seem to follow the contour implied in the arOha and avarOha. In all the raga-s except in Dhalivaraji and Kumbhini, the phrases given in the purvanga in the aroha are seen and in addition, phrases like ‘d g r g m p’ are seen (in Saugandhini and Dhalivaraji). One interesting point is that the phrases ‘s p p’ and ‘s p m p ’ seen in the gTta and in the tana are not seen in the krti. In the raga Saugandhini the phrase ‘s r m p’ is seen only in the svara passage.

5. In the sancari also phrases reflecting the aroha are seen and phrases ‘s p m p’ and ‘s p p’ are seen sparingly.

The GTta-s and the Tana-s in these raga-s have a similar approach. Likewise the krti-s and the sancari-s have a similar approach. The phrases that reflect the aroha and avarOha are seen more in the latter than in the gTta and in the tana. Thus it can be stated that probably these compositions belong to an earlier period and the krti and sancari should be from a later period that is after the formulation of the arOha-avarOha.

Now coming to the remedial measures given by Subbarama DTk$itar, as said earlier, except in the gTta in the raga Bhanumati, the compositions in the other raga-s of the first cakra, the phrase ‘s r m p’ given in the aroha is seen clearly. In the gTta in Bhanumati raga, the phrase ‘s g g r m p’ is seen.

Except in Dhalivaraji gTta, in all the other gTta-s, the phrase ‘s p p’ is seen. In the gTta in the raga JaganmOhanam, the phrase ‘s g g p p’ is seen. Regarding the avarOha, the krama phrase is seen in the compositions and in the raga ManOranjani, the phrase ‘m r g r s’ is seen in the compositions. In the compositions in the raga-s of the seventh cakra, the phrases ‘p m p g r s’ and ‘p m p r g r s ’ is seen in all the compositions. Regarding the gamaka given by Subbarama DTksitar, while descending, the gamaka sign is given only in the krti and in the sancari, and in which the gamaka sign for Orayika gamaka is given for gandhara while descending. But in this the gamaka sign is given by Subbarama DTk$itar and it may be inferred that the gamaka sign would have been given on the basis of the remedial measures given.

Now we take up the non-vivadi raga-s, namely, the raga-s of the 10th cakra namely the 55th Samaja, 56th Camara, 57th Sumadyuti, 58th Desisimharavam, 59th Dhamavati and 60th Nisada. All these raga-s have catu$ruti-r$abha, sadharana- gandhara and prati-madhyama as common svara-s.


The pOrvanga in the arOha of all these raga-s is given as a krama ‘s r g m \ The Purvanga alone is taken for discussion since it is the common factor in these raga-s.

In the compositions given under these raga-s, the krama phrase, ‘s r g m ’ given in the arOha is not present, whereas the krama phrase is seen in the avarOha. In ascending movements, the melody goes either as vakra as ‘s g r g m’ or as ‘s p m p \ Thus it is evident that even in the case of non-vivadi raga-s, there seems to be a common approach in the compositions.

It is clear that the composers who have contributed in these raga-s have given the raga-s an identity apart from the arOha-avarOha and SangTta-sampradaya-pradarsini is the main source for these compositions in these raga-s. Any approach to these raga-s by the later musicians would only be possible through SangTta-sampradaya- pradarsini and it is imperative for the performers to study the compositions given in these raga-s in order to render the raga-s as given by Subbarama DTk$itar. Since each of the composition has a distinctive identity and it is well established in SangTta-sampradaya-pradarsini, to understand the svarOpa of these raga-s, SangTta- sampradaya-pradarsini is an excellent source of information.

Bibliography


Caturdapdi- prakasika o f Venkatamakhl

Part I-Sanskrit text, ed. by Pandit S.Subrahmanya Sastri, T.V.Subba Rao and T.L. Venkatarama Iyer, pub. by The Music Academy, Madras, 1934.

Ragalakfanam o f Muddu Vehkapnakhi

printed as an Appendix to the CaturdapdT-prakasika of VenkatamakhT, ed. by Pandit S.Subrahmanya Sastri, T.V.Subba Rao and T.L. Venkatarama Iyer, pub. by The Music Academy, Madras, 1934.

SubbardmaDik$itar

SangTta-sampradaya-pradarsinT of Subbarama DTk§itar, Pt. 1 & 2, Vidya Vilasini Press, Ettayapuram, 1904

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CtDjDumreDai guoiaar.

1. &rii&9> fibiSlrrgmu urjaiiWledl - *uutjmL2. Tanjore as a seat of Music - Dr. Seetha3. The Chaturdandi Prakasika of Venkatamakhin4. Musical forms in Sangita Ratnakara • N. Ramanathan5. Nartana Nirnaya - Vol. II of Pandarika Vittala6. {bifiip Sâufiami*t*drt Q$rr(§£I 2 - âmammLomaou udo*anab*7. A Practical Course in Karnatic Music Bool II - Prof P. Sambamurthy


• • 9 • • •

Sangita Kalanidhi M.S. Subbulakshmi (1916-2004).

Lakshmi Vishwanathan

With a profound sense of irreparable loss, the Music Academy dedicated the seventy eighth conference and festival to the memory of Bharat Ratna, Sangita Kalanidhi, Dr. M.S. Subbulakshmi. The festival was inaugurated on December 19th 2004, by Honourable Justice Sri. K.S.Bhaktavatsalam.

By a fortuitous circumstance, the internationally renowned painter, M.F. Hussain, an ardent admirer of M.S.Subbulakshmi and her music, had just unveiled his inimitable portrait painting of her, in Chennai, at the Lakshana gallery. By kind courtesy of Mr. Hussain, and the gallery, this remarkable painting of the great “nightingale of Carnatic music”, adorned the stage of the Music Academy on the occasion of the inaugural function.

The first woman to receive the prestigious title of Sangita Kalanidhi, in 1968, M.S. Subbulakshmi came to be universally perceived as the most revered musician of the nation. She was also the first artiste to be honoured with the highest national award, the Bharat Ratna, in 1998. It was a fitting crown for a great musician who had received innumerable titles and awards for her long and unmatched service to music. From her first concert at the Music Academy in 1932 when she was only sixteen years old, to the autumn years of her career, she not only enriched the institution with the wealth of her musical expertise, but also contributed her might to raise funds for the building of the present auditorium. The words of India’s Prime Minister Jawaharlal Nehru as he presided over M.S.’s concert when he laid the foundation stone for the auditorium are etched in gold in the history of Indian music. He repeated what he had said of M.S. earlier in Delhi :

“..who am I a mere Prime Minister to say anything about a Queen, the queen of songs?”

M.S. and her husband Sri.T. Sadasivam were lifelong friends of the Academy. Rather, one should say that they were part of the family of the Academy. Even when they were momentarily pre-occupied with the Tamil Isai movement in the forties, they always kept an eye - a supportive and committed eye - on the Academy. Without exaggeration, one can say that they were a power-house of influence on the course that Carnatic music would take right through the twentieth century. Many a Rasika would recall with awe, the dignity, grandeur and grace with which M.S. conducted


herself when she received the Sangita Kalanidhi title. She virtually opened the doors for recognition of women musicians in a male dominated bastion.

One can recall vividly the graciousness with which M.S. and Sadasivam would be present at the Sadas of the Music Academy, year after year to applaud and bless the Vidwan who received the Sangita Kalanidhi title.

M.S.’s concerts generated not only funds for the Academy but also re-iterated the highest aesthetic values inherent in classical music. Whether she introduced the largely unheard Mela Raga Chakras of Maha Vaidyanatha Iyer, a completely new Annamacharya composition, or sang a simple Tamil spiritual ditty, she filled the air with the purity of melody, crispness of diction and total commitment to classicism. Every season that she sang, she introduced a hitherto unheard repertoire of the Trinity’s classic compositions. Her Sankarabharanam raga alapana was truly an adornment for the Academy’s stage. She would soar to great heights like an unbridled bird, and touch the heavens, taking her audience with her. Whether it was Tyagaraja’s “O Rangasayee”, or Syama Sastri’s “Devi Brova”, M.S. gave each song her magical touch, while the avid listeners of the Academy feasted on an experience of their life-time. Thus she set high standards for others to follow.

The musical presence of M.S. on the Academy’s stage lent the institution unprecedented prestige throughout the twentieth century. Furthermore, it gave the young aspirants of music pride in the fact that they were in the company of the greatest. She was truly a source of inspiration for many musicians. As for rasikas, her music provided them spiritual bliss and unblemished joy. She lived for music, and generously contributed to many a worthy cause. The Academy dedicated its festival to her as a fitting tribute to one of the greatest legends of Indian music.


• • t 9 Q 9 9 • •

Gamakas Notation in Sangita Sampradaya

PRADARSINI

Smt. Vidyashankar

The choice of the theme for this year’s series of lecture demonstrations centering around various aspects dealt in Subarama Dikshitar’s Sangita Sampradaya Pradarsini is highly laudable - a homage celebrating the centenary year of the Pradarsini published in 1904.

Pradarsini means exposition and Sampradaya tradition, and Sangita music. So, Sangita Sampradaya Pradarsini is an exposition of musical tradition. Dikshitar’s Sampradaya Pradarsini is a highly valuable, exhaustive, monumental treasure gifted to South Indian Music, in which he deals with various aspects such as lakshana, Iakshya, theory, practice and the art and science of music.

Notation is a fairly modem innovation. The origin of our music is traced back to the sama-veda. the hymns of the saman-chant were solemnly recited, listened to and absorbed in mind and heart following traditions of sruti and smriti. Sruti is that which is heard and Smriti is that is remembered. The Veda-s were not written down.

Learning along this lip-ear method is rather difficult. In course of time, later student and artists started to use notation as a guide to memory. Of course this had its own benefits. For it definitely enriched their knowledge and enlarged their repertoire.

Coming to the notation part, I would like to say Subbarama Dikshitar has explained the gamakas with vina technique, with one finger or two finger placement on the strings; he has explained these with notations, with gamakasigns. To capture the nuances of our classical music, scholars, musicians and musicologists have resorted to signs for music to be written down.

The gamakasigns are of great value to students and performers as it enhances their practical knowledge of how the Svara-s are handled. Hence notation is an important part in learning music.

A boon of good fortune was bestowed on me by the tutelage under my gum Sri Syama Sastry, the great-grandson of the illustrious composer, Sri Syama Sastry. With affection and care, my gum taught me over a hundred compositions of the Sastry family.

---------------------------------- THE MUSIC ACADEMY MADRAS ---------------- ------------------

Smt. Vidyashankar, a musicologist and a well-known veena artiste is a direct disciple of Syama Sastri tradition.

It was highly inspiring. While learning, I was not allowed to take down in writing even the sahitya, text of the compositions. With all innocence and zest of a sixteen-year-old college student, with paper and pencil in hand, I pleaded to let me jot down at least the text of the songs. But I was not allowed this. The tough retort from my guru was; 'When you can learn and memorize the lines of Milton's Paradise Lost, can you not just take in the simple words, Amba Kamakshi, Mayamma, Talli, Nannubrova'

Coming to the topic of notation, Sri C.S. Ayyar, my father, in his authoritative tone strongly urged, “you have received the precious treasure of Sastry’s compositions. Of what earthly use is it if we alone hoard this treasure? The entire music world has to benefit by this. You had-better study the gamaka- notation as rendered by Subbarama Dikshitar in his notation of Muthuswamy Dikshitar’s kritis and write down on those lines the compositions of Sastry and his descendents”.

His command was so powerful that I took this as a mission. As early as 1947, the first publications of the Sastry-family compositions in three volumes appeared with gamaka- notations. Later, Parampara, an organisation for the promotion and preservation of classical Carnatic Music published in one volume, seventy-five compositions of Syama Sam with text, translation, transliteration and gamaka notation. The next volume of the compositions of Subbaraya Sastry and Annaswamy Sastry was published in the same manner.

With this background, I thought I could do some more work on gamah-notation in Sangita Sampradaya Pradarsini as given by Subbarama Dikshitar. This lecture demonstration is an offshoot of my dedication to notation based on the foundation laid by Subbarama Dikshitar. I hope to do justice to your expectations.

And so, I wish to say how Subbarama Dikshitar has explained the nuances of the gamaka-s. He has done this with vina technique. He has explained the gamaka-s by explaining how the svara-sthana-s are played with the left hand using one finger and double finger techniques along with right hand plucking. All this is beautifully described. He was a Deviupasaka; he addresses the Devi as Dasa-vidha-gamaka-kriye: The originator of ten types of gamakas'

I wish to just relate the explanations given by him. I have requested Prof. Bhagirati to read the Tamil version and I will give the explanation and demonstrations on the vina about the gamaka-s given by Subbarama Dikshitar. I will confine myself to the gamaka notation adopted by Dikshitar following it up with a short addendum to the theme.

The first is Kampita-gamaka.


Kampita means a shape or oscillation. So this is the beginning of the gamaka-scale. Hence Dikshitar starts with Kampita Definition form the Pradarsini:

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Dikshitar has used this sign "---- " to the kampita for the svara oscillating from thehigher note. The sign is given over the note.

Demonstration on vina : the opening line of the ata-tala todi-varna: gaa ma daa. The oscillation starts from the highernote ma. Another example demonstrated: the first line of the chita-svara of the sarqe varna, gaa ma pa, gama dadaada.

By observation, we find that the kampita-gamaka can come from the lower svaraalso. Example: demonstrated ---- the opening line of the todi adi-tala-varna ofAnnaswami Sastry —

gaa gaa rigari ma maa

ka ru naa katakshi

Here, the oscillation for ga comes from the lower svara, ri. So, I throught as a further development of the theme, this can be taken as another variety of the kampita- gamaka and represented by a two wavy line "/>~ " over the note as against the three waves represented already for the gamaka from the higher note. An example for this type of oscillation(on the vina): gaa ga ga in Khara gaa hara gaa priya raga

Chakkani rajamargamu---- the sangati of this pallavi line in the higher octave. Herethe oscillation for the gandhara comes from the lower svara chatursruti - rishabha. This gamaka oscillation is important because we must know from where the gamaka-s start. Gamaka-s are so precise, minute, meaningful and impressive that we should have in mind the raga-svarupa of the svara that enters the raga.

I am sorry to say here, that in Todi raga, many budding violin artists give a strong hold on the position of the chatursruti rishabha and then begin the oscillations to get the kampita gamaka for the gandhara (demonstrated on the vina) this should bebanned-----as where does this chatursruti-rishabha come into raga Todi? We shouldbe very careful and clear as to where the gamaka starts.


Passing on to the third variety of kampita, this is observed on the svara itself which brings out the raga bhava: (demostrated)

gaaga gaaga

Bhava raga talamodini (in Kalyani kriti o f Dikshitar)

This oscillation on ga itself gives the full svarupa, the essence of the raga Kalyani. We need not go up or down. So, in notation, this gamaka can be represented with a single wave above the svara. Thus the three types of kampita:

1. From the higher note '— (Three waves),2. From the lower note - - (Two waves),3. On the note itself - ^ (Single wave).

The last variety can be observed in the rishabha of madhyamavati-raga; ri rii ri:

Kamakshi lokasakshi (Syama Sastry)Dharmasamvardini (Mutthuswamy Dikshitar)Chelaluvameera (Tyagaraja)

Anupallavi of Alakalella

If we want to learn the exact structure of the gamaka-s we need to go no further than the authentic versions of the mighty compositions of the musical trinity. From these, we can learn precisely what the gamaka-s are meant for and how they are administered. They are very expressive (demonstrate Madhyamavati rishabha; Alakalelladagagani)

Tyagaraja has immortalised this rishabha. If this rishabha in Madhyamavati - raga is not oscillated, like rakshasa-s, the raga-s Brindavana saranga, Manirangu, sriragam - all stand at the gate to grab the rishabha to their bhava. I wish to say how Tyagaraja has immortalised this rishabha.

Our legendary painter Sri. Ravi Verma has given us the picture of the palace scene of Janakamaharaja, where the young handsome Sri Rama takes the siva-dhanus to win the hand of Sita. Sage Visvamitra gazes on, admiring the beautiful locks dangling on the young prince's forehead. This picture is painted by Tyagaraja in music: 'Alakalella Adagagani' (demonstrated). The dangling of the locks is described in the oscillations of the Madhyamavati -rishabha:

rii ri ri ri riaa da ga ga ni.

There are so many other pictures that flash in my mind: but I do not want to go at a tangent to my topic.

The next gamaka is spurita

Definition from the Pradarsini

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(As Bhagirathi reads, vina is played to describe the tapping of sa sa ri ri) Dikshitar has explained this technique as vina-gamaka oriented. When you pull and tap, the jantasvara-gamaka is experienced. Dikshitar explains this in a beautiful way.

Spurita actually means throbbing. Dikshitar gives the sign of three dots as in the sign therefore. As we use dots over the svara-s to denote the higher octave tara-sthayi- svara-s. We can join the three dots and give the sign as triangle A over the svara.

Later, Dikshitar says in pratyahata

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The finger technique of skipping is described. Actually pratyahata is the reverse or avarohana form of spurita which is janta-svara in arohana form. Though we have


so much of presentation in the vina technique, the sound produced is the same. So, we cannot call this a separate gamaka. Dikshitar gives a note later.

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He says, a higher note is heard sometimes. I was pondering much over this as to where we can get the higher svara in janta-prayoga. Later it struck me that in Adi-tala Kalyani varna, sa saa sanidari sa-ninidadapama, the second phrase ninidadapama- we play the second svara nini as niisani and da as daanida with the gamaka, touching the higher svara, pulling the in between sa and ni on the previous svara-s, ni and da respectively. We do not play the phrase in the ordinary janta-svara-prayoga , touching the lower note. So I concluded that this gamaka of janta-svara in avarohana-krama or the descending order comes with a gamaka-sambandha form. So the pratyagata can be represented with the sign of an inverted triangle over the svara "V".

fA summed-up presentation of the vina technique of spurita and pratyahata: in spurita, i.s., while playing the double notes in the ascending order, the second note is to be tapped; in playing sasa, the index finger is placed on the lower note nishada, and without lifting this finger, the middle finger is tapped on the shadja note while plucking. In pratyahata while playing the double notes in the descending order the technique is different. First the index finger is placed in the shadja note. This is quickly skipped back to the lower nishada without lifting up the finger, while the middle finger is tapped down for the second emphasis, while plucking in gamaka- sambhanda, the higher note is pulled with the two finger in the note.]

Here, the importance of gamaka-notation is felt; so also gamaka-sambhandhe and janta-sambhandha varieties.

Here I would like to recall an incident which led me to thought provoking aspect of gamaka; in my young age, I had learnt the Suddhadhanyasi-varna of Sri Mutthia Bhagavatar from a book. Years later, I heard the rendition of this varna by the disciple of the composer. In the second line of the pallavi, the phrase papa-mama-gaga- sasa was rendered by him as panipa-mapama-gamaga-sagasa. I had practised this phrase in the normal janta-svara-prayoga as papa-mama-gaga-sasa. Then I realised that this janta-svara phrase is presented with the gamaka of the higher note, which justified Dikshitar's explanation of pratyahata. I also realised the value of guru mukha- paatantara.

The next, the simplest of all gamaka-s is nokku. It is just a stress; no oscillation. Gamaka-s need not always be with oscillations. This nokku is a straight pull. (Bhagirathi reads the text:)


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In Sankarabharana-raga, when we play sarigama, the ri is given just a distinctstress (demonstrated). This is nokku. The sign given is a beautifully written 'w'. Wesee how his gamaka is played with two fingers. We can produce this by pulling with one finger also. But for aesthetic presentation, we need two fingers. I feel that the 'w' letter-form is a very appropriate sign. This sign is presented over the svara as usual.

In the next two gamaka-s, we have the introduction of anu-svara-s\ these are very important like the people who work back-stage. They give all strength and colour, but do not appear on stage. Similarly these gamaka-s for which anu-svara-s, are provided, are not pronounced (demonstrated). When we say pa-ma there is another pa touchingin between the svara-s i.e., before reaching ma, a soft another pa is heard---- thisis anu-svara. Dikshitar, in his notation, presented this in a smaller type between the two svara-s. Here I suggest this anu-svara is written just above the line (between the svara-s) with its sign, as we do not pronounce the anu svara when going through the svara-line. The sign used for this gamaka-ravai is an inverted V letter over the svara.

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A A AB-pirposmA : u u i A , L A L A a, rfliftao.

With or without plucking, keeping the finger on the svarasthana fre t, and then with a fast plucking, lifting up the finger which is on the in-between svara gives the gamaka-ravai. It is given with an inverted letter v as down.

The second gamaka with anu-svara is khandippu.

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Khandippu is similar to ravai in the use of anu-svara. The suggestion of writing the sign above the svara line is followed here: demonstrated: When we play the phrase ma ga pa ma rii in Surati-raga we do not play ga between ma and rii but we are aware of the position of the gandhara when the rishabha is dropped from the madhyama so this in-between svara ga is the khandippu gamaka.

In Sankarabharana-raga in the phrase gama-dapapa-risaa (demonstrated), we have the khandippu on the svara ga before the slide from panchama to rishaba similarly in Saranga-raga (demonstrated),

Ravai and Khandippu are important gamaka-s with the anu-svara-s written with signs in short letters above the svara line, in between the sliding svara. Presenting this in the svara line itself, as Dikshitar has done, brings in confusion, as the svara-s are not pronounced when we read the svara line (the anu-svara-s are not pronounced) so, the suggestions of the anu-svara-s in the signs above the svara line is advocated: The sign of khandippu is a surd ( V ) in a smaller size and that of a ravai, an inverted letter 'v'( A ).

The next gamaka vali is also full of anu-svara-s. Dikshitar has given the sign for this gamaka as that of an arc of a semi-circle (n).

He gives example for this gamaka in ragas ahiri punnagavarali (demonstrated). A whirl of svara-s is presented in circular or sliding movements. Vali mostly comes in chowka-kala phrases. The long drawn phrases are suitable for this Example demonstrated in ragas ahiri and Punnagavarali.

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Zymrip] &rreoaeifieisr &rreitwj eu(nju>uuf- Q&tueugj euetfhurrû).

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stQ&rrrfl&esmu urrria&i.

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&pui5lrrGturTaisi0ii§n)6i(j§ Pi Q ju u u f. Q urfliu eueirterreyii, epty& rju t5lrjGturT&iii&<§njdi(g) D Q ju u u f. fflrfltu

euemeneyih ee>euA6iuuiLuf.(ûuem^4i &euedUnm&en.

The next gamaka-s are the jaru-s. These are very common in Hindustani music. Jaru is a slide. The ascending format or the slide going in the upward direction from one svara to the higher is called yetra-jaru and that in the descending format, yerakajaru. These jaru-s are represented by slant lines, going up and coming down.

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B-grrrjesmw : etv/rfl, ero/a erv/iD, ero/u, erv/ero

(ii) \ GLDfbQ<frr<ssrssruuf.Guj i£iL®t—msr Guseo Syp srrr^gidrg )iii<§gevggrrqij ereeruu®LL.

tugntjesmih : ero/rfl, erv/g, ero/u, ero/us, ero/$, ero/eio

In between there may be many svara-s; but they are not pronounced at all. In some places we do not know from where the slide begins — starting from nabhi. (demonstrated) as in the starting of the kriti Oh Jagadamba (demonstrated); but we know exactly at the end of the line; that the slide extends from ma to pa (demonstrated) here, the yetra-jaru(/) is from the madhyama. We can draw the slant line starting from ma upto pa. Sometimes it is not from one svara alone; when we repeat the first line of anupallavi of Chandram bhaja in Asaveri raga, it is played as nisa sa. nisa comes in the higher speed so the yeraka-jaru(/) sign is given here.

The next gamaka odukkal is explained in the phrase ga ga ri sa of the chittasvara of the Bhairavi ata-tala-vama (demonstrated). The light pull on the svara (here it is ri) sometimes covers an oscillation; slight oscillation which resembles a throb manifests itself in many of the gamaka-s. This is not like tremor of Western music (demonstrated).

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su0Q7$/ii) B-efor®. ty&srjrn Gmeo Gurreugi gtreouib. (%)&/ jyevrruesrp^lev

Qeu(§eumu eu^th.

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&rTtp$rrjiii Gu&ibuuf. $p£)es>tu ^(Lp^giuiSluf-ggi i$tp(§ [fleyuib Gu&ibuuf. Q&iljuj GeuemQiub. (rfl I id / « rfl).

Orikkai is a gamaka where the touch is from the lower svara as in the start of the kriti Tulasidalamu in raga Mayamalavagowla (demonstrated):

ni da pa

Tu la si is played as nii pada mapa

Tu la si

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eprflsoa fT«mju@)ux.

a-$irtj9anb : cn> $ $ u u> * rfl erv

This gamaka is represented with an inverted sign of the resembling a bird.

Sometimes this touch goes up to the higher svara as for example in raga Sankarabharana, in the phrase da ni saa dapa. The tarasthayi-rishabha is touched after the shadja (demonstrated) This can be represented by the reverse sign of the orikkai.

The next gamaka-s Dikshitar explains pertain to vocal music. He does not give sign for these, but explains the voice modulation in each one of them, how they are done with a closed mouth. We have heard these from vetevany vocalists like Chembai Vaidhyanatha Bhagavathar, Jayamma, the daughter of Vina Dhanammal M.D.R. and many others.

The gamaka-s are humpitam, Namitam, Mudritam.

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eiM$\uu$nasrGO 2.6ttn—tT(§ii) frrriii&eifim ,j/cn<Fa/ pmAfiGiLesruLiGiib.

So we see in gamaka-notation, the signs given to each of them as in Sangita Sampradaya Pradarsini.

The further modifications are:

Kampitam - $ibi3$u) — —, ~Sphuritam - etoLfrfl&ib A


Prathyahatam - t3p&turTarT$U)Nokku - G)/5/r«0 wRavai - rjrsmeu A

Khandippu - g,mruj.uq VVali - sugiR nYetra-jaru - Gjfbrogrr® /Yeraka-jaru - @ lpi5i*grT($ \Odukkal X

Orikkai

The last gamaka tribhinnam is exclusively a gamaka employed in vina-playing

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^(Lp&,§?ias)6i]ggi<& Q&rrem® GUGVgjema eSlpremeo GLLjpQ&rrm&sr {tpmjpj ^^^G sm iLfth epGp

u?lL/_rr<gi6ijfr&)gpfLb. &, &&>&ffiujrT8>ajrr&i®l)iLb ifiiLQieuGg $rflL5lmanQLDmurrria&T.

Tri bhinna may be taken to mean broken or expanded. The three strings of the vina, Shadja, lower panchama and mantra shadja are plucked one by one or simultaneously when svara-s are played, the fingers of the left hand are kept flat lying down and one plucking is done for all the three. This type of plucking gives the sonorous effect of the instruments. The fingures of the left hand are kept flat on the svara-sthanas (demonstrated).

In tana-playing these techniques are largely used (demonstrated). The same svara- sthanas in the different strings bring out the unison of the svara-s in tetrachords. The improvisation in tana playing demonstrated reveal the possibility of the usage of this gamaka. The same or parallel svara phrase in the tetrachords given by the three strings enhance the raga-exposition. Imagination and improvisation bring in more symmetrical phrase.(demonstrated): rii-rii in the upper octave, as a parallel to the svara-phrases paa- paa in the panchama region and more patterns like ga ri ri and da pa pa; ni da pa pa as ma ga ri ri in different finger techniques in raga Bhairavi. Similarly in raga Arabhi as rii ma ga ri and daa sa ni da and similar patterns are demonstrated.

Akara-meetu and svara-meetu of the vina-play enchances the structure of the tana. The simultaneous or individual twanging of the pacca-sarini or the three side strings tuned as sa pa sa add to the enrichment of nada. the pacca-sarini strings provide the aspects of sruti and laya, making, the vina a complete instrument best suited for the exposition of the nuances of carnatic music. All these techniques are handled in vina-play.


Demonstrated

tana-playing in ragas Bhairavi, Mayamalava-gowla, Arabhi, Varali and Sri.

Referred to different gamaka Demonstrations were provided by transparencies

1. Kampitam

2. Sphuritam

3. Pratyahatam

4. Nokky

5. Ravai, Khandippu

6. Vali

7. Yetrajaru, yerakajaru

8. Odukkal

9. Orikkai

10. Tribhinnam

11. Mudritam, Namitam, Misritam

12. Gamaka - signs

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tLgrrpsmiii : &rr £j)/5£ aihrilgGw ^stn&sp

aubiSIgib : (grfiuLf

1. — ^ a n ^ s if Gmsy &rr&i&leSlfiTfti\&,i

2. ~~ $Cp *tTg&ls6lr$rkgi

3. ~ ^sn& sif srvsupsrvgrrsarg^lGsyGuj

Kampitam

The author has introduced two more variations, two waves and one wave


eroifriîb^G prr^sysm a Slpininmu G um gib spsuQsimty ^p tL an t— srvsupriissifls^/Lb sSsnsmuSlsyrruSlîib

■mtfrrSi&GUmiSlftfnb ^ jp sm i—rrsugi srvsupg>$sv û p u u g iG su &vnrf\gui!Tgw. sruuui-Qujafisy, sffsnsmuSlsy

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sipL—gpg affL-Uf-syiii) spQp arrsy£$sy onsuggia QarrafcrQ, (Lpgsy a f t' $ sivsupgsng i£iLup Îstprrg

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sffiLuf-sy îspuug jG su . sffss>smuSl§gjib ffm fp g ^ ^ ji ii ^ ® g g srvsupgQgrr® Gu&ib.

MLgrrpsmu) : srvrfilatv, rflsrvrfl

<g$uip : A

Sphuritam

The three dots above the svara line have been replaced by a triangle

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Q-grrpsmti) : srvrflav, jjlavrff.

(grfluLf : v A

Pratyahatam

The three inverted dots above the svara line are replaced by an inverted triangle

6IJBIT&&sivsnpii/astflsur GarfdsnauSsb span srvsupgang 9f(i£>gû iSlispuuGg ^(guin ^sosvgi Qgrrag

STS5TUU@Lb.

w wB-grrpsmii) : rfistva, rfknurr

w w wfSistorfl&uiurr, rglsrvrflsrv

(gr uLg: w

Nokku : the letter w. No alteration in symbol


1. USDQI

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esta r&®efilpeviTeo GevaiLirtu g p ^ e m u iEiL®eu^j pasted eresruu®ib.A A A

a-$rrpessnb : uum, ililg, rflrflav

($H$ULj : A

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ejG&espib ejxjjf Siip #p6h)$rT6BT$$rj)(§ QipmiSl s-L-Gesr lEiLup frhGtnestub rgleoeomceo erG&esuib

GeuQprTQ} » p ero ^ rre sr^p ^ lEiLupeoeorruteo QjrDi5i(g>6ugiGeu aessrupuL/ eresru® ib.

V V yfB-grrpessnb : u ilg , uarfl, urflerv

(§$un : VRavai : inverted letter v, (A) Khandippu : surd (V)For both, their symbols along with the gamaka-svara are shifted above the

svara line.

a id

P i 6 75 »petv^rresr^GecGiu $(5$ emu euesterrevmu^ iSlup&gii epesrjp] $jpeirsr® êoeogi

(ipasrrfi &prii&Gffi<sisr &rresiiu evqîbuup Q&iueugi euetfhurrQtb.

B-grrpessrib:

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0 / # u l / : P I

Vali : The semicircular arc. No alteration

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«$/«u«ug/ u-ia$rretoifrrmLrra er&pesmr 3rpggi&&rreugi Gi£>&)&rT4@i&(9) erjpipeo ejrprp grrqrj eresruu®ib.

e-$rrpessrib : ero/rfl, erv/a ero/ist, ero/u, ero/ero

0ff5)uq ; /

2. A jdamut® .\ GiApQ&rrdsresruupGuj i£iL®l-ost (Slow *p$§)a$($$$1 Sip &rra\&iar§ g)p /iitgpw {§)/d«<ss grr(§

eresru u®ib.

n-grrpessrib : ero/rg, erv/p, eto/u, em/iL, emfa, em/eto

0/zJ)L/Ly : \

Yetrajaru : upward slant line / Yerakajaru : downward slant line \

Both symbols are shifted above the svara line

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3, n^rrpii) Gu&ihuup ^^lettuj @(LLggjuL5lLi)-ggj i3iD0 rfleyuib Gu3nbuup Gimiitu Gevesss®iKX X

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(gjffiluq : X

Odukkal : Cross x, No change.

0nf)flDsi£iL®i—an «^0 &pib, Qipetir® &pih êoeogn (Lpdirjpi &pmiaasten fgji—'g/emauSeb ûiEliurr#

uevpprreo (g)(_ /a><£ eBpeo&etmeu ueo &peh$rTasfw&esten ep&i&>&lULSluf-S\§i g)/prs/0 Q/(p epifiewi eresru u® ib.

rffav $$ u$ ilu &ll rfl&SLprrpessrib r e r o r g ^ u L D S r f l e w

0/$uq ; -------

Orikkai : bird in flight, No change

The author has recognised the reverse of this gamaka and assigned the inverted form of this symbol to it.



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Tribhinnam : exclusively for vina. No symbol

The authour demonstrated modifications in tana playing.

1. <yîflîi)eurrmiu {Lpuf-aQarrmir® urr($ieu^leo tLemi—ir^ ib arrmiaetfia) (tp^rfl^Lcrr^Lb. g)/j£

arTrfrrpaiara LcrrgSfirriii otwaj/ Qarreo&jmfa&T.

2. jBirirflîf)prrpm iam eaa ^ m p s ^ i îLu^G^rr&sflGujrT^ urrQeugi ^ w w g i dtmmsruSlev eurrSluu^rreo

tL.emt—iT(9fU> apisiafim îmaaj pm^^GumruuîK

3. rf)£ri&ii)GllGsu Q a rrm m a in a m a a r ^peinr® Qpmjpj aeopai euQjjuauuf. Qaiupeo i£latf\a>QiLmuu(t)\ib.

Mudrutam, Namitam, Misritam : exclusively for vocal music.No Symbol. They refer to voice modulation

Index of Gamaka signs in Pradarsini and Modifications and Additions— Kampitam aii)LSlgii>

} Sphuritam etVLjrflgib A

Prathyahatam iSl[T$ujrTarT$U)V

w Nokku QprraQ wA Ravai FfG&GU A

V Khandippu amruÛLi Vn Vali SUfffi n

/ Yetrajaru SjppgrTQZ /

\ Yerakajaru Qlprsjagrr® \

X Odukkal epaiaaso X

Orikkai grflma

• • fi 9 ^ 9 9 1 *


<!P&g)cn>«Bfruft $ttt>£lj5[f)<5r prcr&uOTcftoMMMir

Sint. Sulochana Pattabhi Raman

$)ma Guu).ewEJ3,<etf}ev (jnawrreSlmau urri—soaen geifla&lpuLi s.mi—ium6uujrT( ib. u^mrrpmis

Ûpprrmiru^GsoGiu $sueSl^LDrrm euuj-&imia&r eiiipaa^^s&^^m ermaQaeêurrSlpî. Ljtjpgrjgnsivrf

Qaiup tjrrawrre&arT, rrrTa rrefTLcme&arT ewênfrâmaru uptfil ir lGeumb. âadbLorr iLfmnGaeSluSlm

(dev euamrijamerr pnaiLtreSlmaiurrau urrQib evipaaih ^rfil&lGpmK “£)0 l/l/£)

Qaiiitsu—piMsm". uipjpjib “prT§l3 g p $ 3 prr" ermp £3)0 G eurjptTLDrraamen rj-rraLcrreSlmaturra urr($ux>

evipaaih Muf-agi eucjTfSlp i.

UmLeroeumS $arf)girt QeumiaGi—au Quîurrsh l£§i 48 yrramiaen Qanrmn— tjrrawnsSlmasmj

$img><bg>eShj 108 prraiEiaerr QarremL- i&pQprT(t$ prraLDrreSlmamujU-iLh ^(njetf)mm\.

jeueSlrj-gm® tTrraiLrretilmaaigtyib (Lpqgmuwjrra (dmi—aaefilevmev. (£a$prt $mamji3eo (ipaSliu8\a/euu)

Qarremt— prrebr urrawneSlmaaeiT ufj (Lp&gtferoeumJH Qauj^meuiurrîK

âcnoijBiiir jjrTa&uDrrsfleD®

"iurr^Geun inmb urrgn” êmrTeu rrrjmaesm îûum i—iurraa Qarrem® Ljijpû^rrmif uev

uQjn~°&rrmT Gêu^pmarraaesmu umy-ujenetmir. îmeuaetfleo “urrfGp Gan3uix>iLn'' (Qe/venrrrrdfiu [ru))

uriiagg (y3 iL/QfT6U6U0 ” (gmiurrSi) - $eueSlij6mQih iSlcruevLDirmemev. g>0 urrgrTfj&fiaetv erorraj rrij

mriiaen <*0 )(iyLb $(i$aSlpgi/. ^mrrev jestemurrajUD ejaijna s-(rûuuf.aeh. sforreu frrr pnaiLrreSlma

epmevpu umi—pg, (Lpa>pasm yff (ipîetoeumB GaQ ih.

$1158) rrrTaLcrreSlmauSlev Qpgeo ^ mi arj’emriiaîh am (rnamae e nK ejmesnu prrmQ 8tjsmm]3><§(T)Lb

i£>mi$etT rrrrarsi&eifieo ^m iLp&idren&sr. lSit ld &<ssr U!Qff8> rrrr&mi&ea aiLpa&i&rrair £I!JLd£§$w

^ lesnuiueSlevesieo. Qasiremtrafgju i3p(§, uff tjnr&tb, jqttlSI, eurjyrstfl eresrp &rjriLf5$eo S-iherr&ng)#,

&rrmr&. xQprreugji fffjemiJb gaSl$iu am u tQ a a ^ m epmprrm GaprTtjgGjleo n-snsagi.

GUL-QiLrrfil efilujrrarrmr eStua^ (ipmpmuj (Lpgeti gtl-® apmuiiaeifieu aenu.uLSluf.^(ûuî

aeum agiararfiluj eSleytuih. aeoSl âi rrtTLb $ mes)iii> flaLprr^mso, ug>&>mb arrsmêc avSluja

eurjfbmnm GeuiiiaGL-au Qu^wnmenu urTu u enarnif.

$l!5g> rrrTaiLrre&mauSl§naT«n ^ il i—fflruoyfrmach, iSpanso^so Q$rT(§aauuiLi—meu Gurr^jih. g>0 rrrTa aiaraLh (£i$>$) rmaâiaraib $memuL\u Gurrso jqmu>p8ji&T«nm. ^^mrrso LSlrjgLc am

lmaiLrrm pmLmt—atg) ^(iîbqib (ipmp $eom&).

(Lpa@i6h)6imL£l $a$$qi)a<§u iSlm, erveurr$$ $Qf>!5frar iLQprTprrgrT, 9 0 pGtorreuprrrr rrrraiLrreSlmamuj

iQ eifhLjaTaTrrri.


ijy iT flD iffj^ in S ib u caflcm u

(gjpg pnaumsSsna nn^rf aiLeonibuneneuu uprflujgi. y item aggrflan, gnpmussrf, eropewai l iLGesrnomrfl. sm~°gg euetoggib, afnihsrogeuerf. gnagsuerf! erssrtp jnjth pnaiiiasnsna

Qanessri—gnîb.

Qjeueimjp] pnaisiaigptb 2 9 ^ 6 GiLsmLnSliu amapnupemg^rssr SLuni&ia, unsynisia pnarhasrr, fpleugemgg Gguf.g geugsnga Q&iuu-jib aiLSOnibunsLsuu un@ub Gungi, ffieuspiaraarka amiapnupsssnb gemsraGanpg pnawasoenGiu Qanessn—g i e&Goeyib. ^§>1 aiLnesr atLat£leoeon§i, rjna&anemj gsmsr Qeu6ifluu@ig§l tLjerrermrt.

$)pg pnaLonsSlssiauflgy/gfrgrr gnpniussrfl pna(ipib, ewj6toeu^l iLGesrnomrfl pna(ipib Gaimiai—iLfil aibiSIpgniugsngg gqgsBiusneu. $iunarjngg a(n>$a<£ij« 0 GskitpiuiLi—ssieu. ^lEianwGa GiL<iogniL(£\ j6S)<ruSl jerr6rr sSlaâanpiiiasLerra ansmeonib.

aisiapnuiupsssrgenga Qansisr® ueo GgniL® srtisurj tL(§uuisf.aes)srra Q&iiig $o>figib, ^susSlgLDrrssrQgn^ pnaiLnsSlsLaQiunssrssipa Qaiuggmso, êu(râ(§ 29-jîb GiLeng^ssr Gil so

@l(rr>r5g iSlwnesnL Qae eunSlpî.

srtingjBgfsIiugeng GgnaSlsrrneo $jrsg pnaiLnsSlena ejGgn 9 0 sSlG&eqt esieuueug^m Gungj ÎtuppuuL-t—Qgssrg QarflSlpai.

Klft afiODOIJBIT lb

efilsioeupngasr ermpneo iL.eoai5iat§n)a(§ r£j$uf£i, 14 Gsonarsiaignjatoj sjppnu Guneo 14 pnaiiiasnma

Qaneisn— pnaiLnsSlsna £3)0 / .

$)pg rrnaiLnsSlsna £3)0 unarhassma Qaneisn—gi. (tfigeo *Qpi pnamiaerr spqij unaib. iLpp 8 pnarriaetT Qipeisri—nib unaib epeuQeun(nj pnagîssr (Lpuf-sSlso, pnamasnsn eSGeonicn SlpiLgîeo uni—

Geumr($iib. pnaiLnsBemauBeir (Lpuf.sSleo 14 pnamassrsnîb sSlGsonuineSlso urn— GsusforQiib. $ hsi 9 0

avêsriLnssru uni—so. u^pnaib, Qaenemen, *Qpi5l, gni— - erebrp gnssr(§ aesrpnawasn st-snenesr. eupneifi @)6var>60. Qaernf, eosSlgn, snupemb Gurrmp î^rfeu pnaiitasrr a-menem. purree pnagQeo Gaeueoib ertingnrjsssr anggnrr srosopgsngu unQiibuu). îssuLgaierrerroi.

(§Lflaass>pa GansSlsSleo tLssipujib iSIpnemesru uprfil ^sniLgggn(§ib. “sneugtueSlmia yurrsu” srssrsifHL $)i—g$so gpeiogifil QjstisoniLSO, Qjeu euehsrrsneo ai—nofigg ffleuiSlpnesiesru unuf-tugi

anSlifcomfratiflii od^ Q $

iLmiaenarjiLnesr Qsrosrrpnsyuj.rjih, eusroiig, sro^pu^, iLgiuiLneu$ pnamiasrr Qansssri— pnaiLnsSlema. gnesr(§ apssrsrmasrr Qansssri—gn&) f§}6B>& Geug rrn&LLnsSlan&i srmurf. LDiiiasrr ^(f^îunau unQib euLpaaib ^(^siSlpî.

Notation for Ragamalikas


Dnawb: a UgirauxTcflan^>mnb: q uou)

@ujfbri51ujQjrT: ijpîenDoiTijCI £o$ji>n

L irem&pgijiflsiir

un ; uiLLorfl slduil I if;emn srtifflsrorg) u n ^ r f sssr-sp--------- g tj- I l3 il u sB - gg - uj

I g > n $ n rflsmrf erornfl g il u l l u iL if aniLrr II

I eu js Gssr- gul I eoniL- iSI-Ga - - II

u iL if a iL if ; ; I u iL & if ; sron ;u n — jaaJI- iL n ii I e u -j-G g - - -

I smrfla l l u il i f ;; I sron; sron ;;; II

I 0 0 0 &D$ssr erf--I II

@L-l—6W6l]Jlb

un, ULLiflsuLUiLffleiti I if, rflsrorflaiL ugu iL I un, r£luiLeivr£luifl eior£l I if, "rferor lu erorfiluiL II (^tfsnsr)

*n;un gnrfrfleiD I srorQrglugn; un; I uiL&rflswfl tflasionrfleiti I etorflungnsttin;; II

Lfsfanu gerfhf- I --g§l-Gg> - rpn- I rjn— iu- esrf)- - I gib- -iSlGa -- II

^L-isirvsujih

rflmarfl &iLUg ffleroiflu I eior£)ur£lgugiLuiLsrfl I sionrfliL sof! aiLugeiorfl I

ib & t f le io n t £ l r f le i» r $ g u g I I ( y r f e & r )

ewirewa/0) iLGesrirpmifl

utL*n urn gnun; I uu>gu u>n an iLn ; I swr£lsroarf sron $; I u n gn; g n if; II

^rf -« w u so - I urr-g- & rj Gear- I sro-rj — snxu $ - / w Gssrn- g® Grj- II

IfhLi—sivsuirib

etonetoiflaiL umaiLug I stvrflatL uldald ugrfleio I erorflaibrfleio Gofiguwa I

rfliLaiLgiferorflgULL II (yriessr)O rg g su ag g rr

an; uingn uniLn I g n i£ srvn gnr£; I gn; g n un; wn I guw n an if sron; II

Lfefy -i3 g ag g I su srtig - Gg -- I Ljstir-i— if - a I eitigq a a Gp- II

SkLu.ebeuirih9rr,9 ld£>u iD9LD$n I eh)rfl&>rfl$u $uiDrf)9erv I 99 idid $ $ rfl rfl rfl if 9 I

ervervnrfleh)flfiuiDrfl9iD II (^rfessr)

------------------------- THE MUSIC ACADEMY MADRAS ----------------------------------

svmbsrv&suettfl

$ II urr; 9nif; un I 9n; $ un; $ I if; erv; ervrflun I urr 9n; if erorr; II

*91 'll £H)ri-rfl&iD-uj I &n- 9 lot- ear I QiDiD-etvp-euesf? I eSl rjn- $ G$- II

$lL-L-M>6Umi)

air U9ifletv 9rflerviflervrfl I 9n uarfl ervrfl9urfleh)ifl I 9n U9rflervif9rfleivrfl I9n U9rfl ervrfu9rf)ervrf) II ( rfessr)

9 II urr; rfl; pn $ I erviflervn r$; if; I 9n ervrf ervrflervn ervrflprfl I un-eivrfl$nrflun-uu)9 II *9\ II urt-Gessr-(§6Ssr I l_ - eSl arfl- rf>n-l 9g> euerf)erveurflG99euerflerv i6l I Gg/ervfmfIGpfijfiGfi—II

§hLi_6rv6vjib

ervrfl9ervn etVLD9iDU9,rfl I ervrflAeivnervervfl uldu I rfl&etv LD9tD ugrfervrfl & Iib9 rfleivrfl$iflervrflpuu) II (y item)

All the ragas in this composition sport the solfa notes of the 29th mela Dhirasankarabharanam.


Sajipf ujQiiT : Dr. mcenflDiTflub : wfitbOuxiffiT ujgujuxi)

uecsceiSl

ertihbGfnfnriiarT id$ uj euner&erf) - erv eunerflesfl em-HLgup unerflesrf) erv uggesr Gunaflerfl

j/g p lu sb svaS I

uijgjiDiLrTemu. rsrnuSl urr ermesr esrniuSl

UQiD$& eupurfltu pmuSl eutj$mu$r ^ ldu

9J&SSTLD

iDQtfi)eynerv-orriDri$ff)erf) - *9iunrr

Loa/flu) aQêssrrr 9n9rfl

*9lS)eorremL- g>9f% gesrerf! - ueunerf)

<3I&)6V L/euesr urflunederf) umeSlerf) «®u metier ^ jidu

ufososfi!

erv , , rfl , , 9 , 1 uiD9rfl erv, ervrfl 1 erv , , , 1 , , , , 9rrervrfl IIerSlmG^p^ ld£ — iueun- —erSl erf------ ------- *9libu-

etv , , rfl , , 9 , 1 uiD9ffl etv, ervrfl / &, rfl, erv , erv , 1 rfl, erv, rfl, 9 , IIsnSlibG^® $>rj Log) — iu- am- — er& erf- 6n)“° eurr- — et6) esrf)

erv, rfl, 9 , id, 1 UID9, 9 , rfl, 1 , > ,tD U, 1 ULD9, rfl, etv, IIerv id g i rj urr— eiflessB erv~°rr $ ear Gun— ofl esrf)

eh) , , iff $, uid 1 rf$uu> 9rf>9rf) 1 ervrfgrfl erv,erv, 1 rfl, erv, rfl, 9 , IIerSkb G^rpf, &,ij- id$>- - aj-eun- - - -etSi erf)-erv eun---- er6> erf

erv, rfl, 9 , id. 1 u, $, rfl, erv, 1 , , rflrfl rflpuiD 1 rf&ULD 9rfl erv, IISTULD, tj u rr-- erflesrf) erv~° 7 g)-esT Gun— of) esrf)

9 rfl, eh) rflguiD 1 rglpuiD 9rf>9tfl 1 ervrfl^rfl erv, erv, 1 rfl, erv, rfl, 9 , IIer&iD G$a)r& id$ - - tu-eurr- ------erSl erf)-erv~° eun- — erfl erf)

etv, rfl, 9 , id, 1 u, fi, prflervifl 1 ,ervrfl(fl rflpULD 1 rflpuiD 9rflerv, IIe r v id , g i rr urr— erfl esrf erv~° rjg-esr Gun— afl esrf) 1(er&tD)

rr«mb: <3}$

(eSthGiDf rj)

(et&ibGiDrfffrj)

(erSlihGiD rr)

r4f$tylUGDG06)fil


eh) , ,rfl p,utx> 1 eh), 1 rfl, eh), , ,$, 1 eh), rfls rfl, , , II

upib inrr —emt— prr— tu S uêunebr p rr - - tu- S —

ervrfl.ew rflpuu) 1 p , , , (Si, eh), 1 srflero , , , up 1 rf)erorf)& rfl , , , II

uQjjtbiLfT --essrt— p rr— tu S uaffOmesr --prr- - - tu- S ------

<$ ib, rfl. &,rfl, 1 eio/flp, rfl, rfl, 1 ervrflaerv rflpuu 1 u>pua .arflero II

L10g®$ —&eu p- - - urfl tu prr tuS - -eup prrtuS -^ftbu (erSlib)

<fj6MI t£i

up, u, , , u, 1 MU,Si , , ld, 1 u. , , , , , , 1 , , , , u, p, II

LDeytileyrr ett)'° p -LDitp p - «af)— ---- - ------ «£/li)Lf

rflp,u , , u , 1 LDUpU 14$14 / u, , , , , , , 1 <$14 U i > P> II

LQQjflaprr sru-" !T -intfp p - etfl— ------ l-urr —rr

rfl, p, u, , , 1 LDghU LLarfl, / <$, rfl, ero , , , 1 II

ld p$ in---- s (pemrr —etorr 9, r fl----

ehiem, sn> , ,«ru, 1 , , jfleh) rflpu ld / up,r£l ,cn , 1 i t , , p, !$, II

^Seorrefa t— 82~ - gf--etir esH- -----^ ib u

arf),ero , , eh), 1 , , suf!. ervrflpu 1 up,r£l „eh), 1 , , rglp ,t£)rfl., II

^fSeoneia i_ 82- *& - £Q--eor "-ettfl- -urr- -ai«rf?

, , &rfl erorflerorfl 1 pup, rfhfl , , 1 ervrflaeh) r£)pu u 1 iLpua .arflem II

^ /S eOLfeuesr urflurr eti/enf) LDrretiledl - -&(iiju ffrr-eSlerfl ^ tbu

SlL6S)L-6rV6UJlh

«ru, ,rfl , ,ervrf) 1 SULSirfl SiLDULD 1 a, ,M , ,<$LC 1 UpULD Up$W II

rfl, ,<$ rfleiorflp 1 rfl, ,rfl ervrflpu / p, ,eh) rflpuu) 1 u, ,u LD&rflerv II

erven), erv rflaiDU 1 , ms; rfl <$i4 u 1 mupu ,p$ew 1 uprfleh) rflixtup II

rflervrfla sunup / rflervrfla ibarfleh) 1 ,arfleh) r£l,eh)rfi 1 pu,iD arflervrfl II

(er&ib)

m m


giroub : omS,@iijfbr[51iiJ6uiT : Dr. <Q>&iriaDf) mcflnfl

usbsvaS

j(peurfSi(§ib Gup(LpemGi rr /eurf ^(peheu lGet) tjgltb {getorDiLjQpeforGi—tr Q&rreoeffri

rQjftylUSOSVSlSl

iXrf}(ifiS6a>esTu Quppeudr siFflprrge5>«ar<$ arrpeudrr

^rfltueuesr ereiftiueuebr iq-iueun&fftetfliueuQST

ld6S)svldsstt prrpm iDemeopetiflev ^LDtfpprrm

laneoui&srr 8>rrrj)pm êmeosii—eo gitiSlmtpndr

rftetoeoGlujpiib a.evSw arruueum ^^fiuueudr

tfev&emL eisT rfeoGiA&eirr ^j(peu(pib ep(peuGp

$L_mD{3)i—$)rr[f)inLc> euGear &m<§&4>rj$mf)tyih feuGesr e&i—ii) s_ewi_eudr Seu $netiri—euen

efik—prrsi stuesresr <$u)eu ptuesrasr

£iremb:

($UDrfl$tDrr)

($0)rfl$lD!j)

(&DrflQlDrr)

usvevafil

, , rflu) ,$ u, 1 arf!, ero rfl, ero, 1 , , rflero ,rfl u, 1 a , , , srflero, IIQlDtfl ftfopif g ) 0 SUITS, 0 tb Gu pQpefar Gt—rr ^feurf

, , rflu> ,u $, 1 eh), ,u , , lm>£ 1 , , <$1D , $UU) 1 Si, ,rfl , , ero, II*3l(Qeh eu G«U 6J §jlb 0 CB>rp tLjQpesm Gi—nQ^rreo effri

, , rfliD ,u $, 1 eior£l,u uaufleto 1 , , rfl ero , rflrflu 1 a, , , rfliL&rfl IIfUDtfl ptopri ^j(peurfa <§tb Gu pQpessr Gt—rr ^ surf

ero, rfl tx ,u $ u 1 rflero ,ib <$/fieri), 1 , , ifleio ,rfl u, 1 <$ , rflp uuwirfl II^ / 0 eh eu§) (Seo- -er g ib 0 OVD iLj(ipeiiir Gi—rrQerreo effrt

($S>rfl)


r*fQ)iueo6vafil

, , /Jp<s ,U)U, 1 r@, ,eh) , .npfflfu 1 , , $ u ,rgl eh), 1 rfl,, iflii),arf) II

arfl (ups enesruGup peuebr arfl png enesra anpeuest

, , $£ ,UID, 1 rgi , , eh) , ,r£)eh) 1 , , arfl. ,/jP eh), 1 rfl , , ifl u.arfl II

arfl (Lpa estesru Guppeuebr arfl png eatenra an peuest

, , rfla ,ifl an, 1 , , $ $ ,LO u, 1 , , rflu> ,u rfl, 1 erorflum arflero, II

*3irfl tueuebr eretd tueuebr tueurta Si eat) tueuebr

, , iba , rfl eh), 1 , , ,u> u, 1 fflmurgl ero/flarfl 1 eh)r£luLo arflerv, II

*31rfl tueuebr ereifl tueuebr *3fUf- tueurta Si 6sf) tueuebr (emrfl)

<fp6SSTLA

, , $2 »<*$ a2' 1 &2> ^ <*2' ^ 1 , , aiA ,$ u, 1 auLoa rflaerorfl II

u> eneu LO ««T ijfr <g esr Loestec pebfleo *3ILorip $nm

, , rflu) ,u$, 1 etv, , , rgluLLa 1 , , rfla ,rfla, 1 erv, rfl, eru, , , II

*3ienet) Loaerr anp pear *3fenevai—d) g! uSlebr pnasr

. . >u> u, 1 1 eh) i fi, 1 eh), eh), eh), eh), II

$ 0)60 Qujrpii) £. cu (deb anu ueuebr ^ttfUu ueuebr

, , ,IL U, 1 $,$, ero, ero, 1 , , arfl ,{£leh), 1 rfl, u, a, rfl, II

r#emv Qutpiii) a. ei) S) eb anu ueuebr *31 tfHu u euebr

, , a, , rfl ero, 1 eh), rfl, .^ ld, 1 u , rfliA ,u $, 1 eivtfluLO arflero, II

r£ sv aem i_cin£ euGio aebr £j)0 ay 0 U) ep 0 eu Gp

> > 1 eh), $, ,pwu 1 rfliLurgl etorflarfl 1 etorfluu) arflero,

£ ev attor i_«iriS et)Gu>aebr g ) 0 a/ 0 ti> gi 0 at Gp

wpujiAa/revib

lou ,a rfleto,rfl 1 ,U> ID, UUU, / <5. <S«5 1 ,$ u, LAuarfl II

g i—niA 0 L_ &rr rfl tLjUb *3jeuGesr aisi(§a appn rfl iLjth *3ieuGetrr

lou, r$ ,r&ero, 1 t£leh),rfl iba rfl, 1 rgleroa, rflerorflcro 1 ,$ ulo arflero, II

e&i—Lb fLessr i_euesr Steua>n efort—euebr eStt—pn aatu&srebr au&eo ptuesrebr

(pprfl)

Obituary

The Music Academy, Madras, reports with a deep sense of sorrow the passing away of the following Vidwans during the year 2004


Bharata Ratna Sangita Kalanidhi Dr. M.S. SUBBULAKSHMI

Mannargudi SAMBASIVA BHAGAVATHAR

{ H U

)

p H , , - tfefer;; •,a ; / , '.<w, > / /

M V ;

|S ^ C ’;.^.y/t'-t .j ^r/>r -

■'

.:;> •,_•. ■

^ 7 /W'J/' '

£77 £7:

1 """" 1 •-------- ----------------- •------------------ --- •■— - \. - * ✓

Publication by T H E M U SIC A C A D EM Y M ADRAS

Sangita Sampradaya Pradarsini of Subbarama Dikshitar

(Tamil Script) Part I, II & III each 150.00

Part — IV 50.00

Part — V 180.00

Raganidhi — B Subba Rao (in English)

Volume - I 50.00

Volume - II 75.00

Volume — III 75.00

Volume - IV 85.00

Chaturdandi Prakasika of Venkatamakhi(Sanskrit Text with supplement)

10.00

£ Krishna Iyer Centenary Issue 10.00

Professor Sambamoorthy, the Visionary MusicologistBy Brahma

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THE MUSIC ACADEMY MADRAS...His Excellency the President of India Dr. A.P.J. Abdul Kalam inaugurated the conference, which marked the end of the Platinum Jubilee Year of Academy’s